THE UNIVERSITУ OF MELBOURNE

FACULTY OF MUSIC

HANDBOOK, 1966

PUBLISHED BY THE UNIVERSITY

TABLE OF CONTENTS Page Conservatorium of Music .. 5 Dates for 1966 • 5 7 Administrative Ońicers of the University Faculty of Music and Teaching Staff 9 CHAPTER L Annual Report of the Dean of Music 11 CHAPTER 2. COURSES OF STUDX 15 Examinations .. .. . 15 Certificates . 15 Concert Diploma in Music . 15 Single Studies .. 15 Special Classes .. .. .. • • 16 University Conservatorium Symphony Orchestra 16 University Conservatorium Chorus . • • 16 Opera School .. 1в Students' Recitals .. . . 16 Orchestral Instruments . . 16 Practising Facilities .. 16 Library . 16 Normal Pitch Standards . 17 Degree and Diploma Courses 17 Single Studies . 17 Matriculation Roll 17 Special Course Requirements .. 18 Graduation .. .. .. .. .. 18 Rules of Conservatorium Affecting Students .. 18 Students' Concerts . • • • . • • • 19 Public Performance 19 Notice Board .. . • . . 19 CHAPTER • 3. EXHIBITIONS, BURSARIES, PRIZES AND FINANCIAL ASSISTANCE Entrance Exhibitions Other Exhibitions • Entry and Examination .. Regulations Concerning Exhibitions .. Opera Exhibitions ..... Bursaries . . Scholarships .. Prizes ...... .. Financial Assistance .. CHAPTER 4. GENERAL INFORMATION Student Counselling and Housing .. Appointments . Board .. • • Student Facilities .. • • CHAPTER 5. REGULATIONS . Degree of Bachelor of Music . Degree of Doctor of Music .. Diploma in Music ' . .. .. • Concert Diploma in Music . Degree of, Master of Music .. CHAPTER 6. DETAILS OF SUBJECTS

UNIVERSITY OF MELBOURNE CONSERVATORIUM OF MUSIC Established 1894 Director-THE OВМoNo PRoFESsoR aF Music, GEORGE FREDERICK LOUGHLIN, D.Mus. (Dunelm.), M.A., F.R.C.M., F.R.C.O. ` (On leave.) Vice-Director—REVEREND PERCY JONES, Ph.D. (Pontifical Urban Univ., Rome), Mus.Doc. (Pontifical Inst. of Sacred Music), M.А. . Registrar of the University—F. H. JOHNSTON, B.A., B.Com., L.C.A., J.P. Secretary—IAN PAULL FIDDIAN, Barrister and Solicitor.

The Ormond Chair of Music and the Conservatorium The Chair of Music was founded in the University of Melbourne by the generous endowment ($40,000) of the late Ir. Francis Ormond in 1891. Three years later, in 1894, the Conservatorium was established.

The Building The present building consists of twenty teaching rooms, a fine lecture hall, concert hall (known as Melba Hall), Director's room, administrative offices, library, staff and students' rooms.

Aim of the Conservatorium The chief aim of the Conservatorium is to provide a general course of musical education, while provision is also made for specialization in any particular subject.

DATES FOR 1966 Jan. 19-Last day of entry for degrees to be conferred on 16, 26 larch, 16 and 27 April. 28—Last day of entry for lectures and payment of fees for First Term. Last day of entry for Exhibitions and Scholarships. Feb. 8—Examinations for Exhibitions and Scholarships begin. 21—First Term begins ( Practical work only) . 23—Last Day of entry for May Public Examinations in Music and Speech and Drama. Mar. 14—Lectures begin. 16—Degrees conferred. 26—Degrees conferred. Apr. 8—Good Friday. University holiday. Easter recess begins. 19—Matriculation of new students. 20-Public Examinations in Music ( Theory) and Speech and Drama (Theory) begin. May 20—Last day for payment of fees for Second Term. 21—First Term ends. June 13—Queen's Birthday. University holiday. 14—Second Term begins. 16—Matriculation of new students. 24-Last day of entry for degrees to be conferred on 17 August. 29-Last day of entry for September Public Examinations in Music and Speech and Drama. July 28—Last day of entry for Annual Examinations. Last day of payment of fees for Third Term. Aug. 13—Second Term ends. 17—Degrees conferred. 29—Thirд Term begins.

Эűивlc-В Sept. 2—Last day of entry for Matriculation Examinations (Theoretical and Prac- tical). 21—Public Examinations in Music (Theory) and Speech and Drama (Theory) begin. Oct. 7—Last day for payment of fees for Fourth Term. 15—Third Term ends. 31—Fourth Term and Examinations begin. Nov. 10—Last day of entry for degrees to be conferred on 17 December. Dec. 17—Degrees conferred. Fourth Term ends. Announcements Commencing in 1966, a new course, Concert Diploma in Music, has been intro- duced. Details of this course will be found in the present Handbook. The course for the Higher Diploma in Music was withdrawn at the end of 1965. Legislation is under consideration to provide for the discontinuance at the end of 1968 of the present performer's course for the Diploma in Music.

б ADMINISTRATIVE OFFICERS OF THE UNIVERSITY

CHANCELLOR, The Ноn. Sir Arthur Dean. VICE-CHANCELLOR, Professor Sir George Paton. DEPUTY VICE-CHANCELLOR, Professor E. S. Hills. REGISTRAR, F. H. Johnston. ASSISTANT REGISTRAR, A. J. G. Williams. ACCOUNTANT, M. N. Ferguson. OFFICER-IN-CHARGE, SCIENTIFIC, MEDICAL AND TECHNICAL BRANCH, F. G. Elford. ACADEMIC SECRETARY, S. H. Shefńeld. SECRETARY, GRADUATE STUDIES, L. R. D. Pyke. LIBRARIAN, K. A. Lodewycks. CLERK OF STUDENTS' RECORDS, E. Finn. FEES CLERK, H. Shurey. STUDENT COUNSELLOR, R. R. Priestley. SECRETARY, APPOINTMENTS BOARD, H. F. Downes. DIRECTOR, STUDENT HEALTH SERVICE, Dr. H. D. G. Hetherington WARDEN, UNIVERSITY UNION, J. D. Sinclair Wilson. SECRETARY, SPORTS UNION, W. K. Tickner. NOTE: A complete list of Administrative Officers appears in the University Calendar.

UNIVERSITY CONSERVATORIUM OF MUSIC FACULTY OF MUSIC Dean—Professor R. H. SAMUEL THE VICE-CHANCELLOR THE VICE-DIRECTOR Members of the Conservatorium Sta$ appointed annually: Mr. L. R. BARKLAMB Mr. J. KENNEDY Mr. J. GLICKMAN Mr. R. SHEPHERD Miss E. HAAS Mr. M. COOKS Miss J. eLEAN Mr. D. THORNТON Dr. P. G.М DOWNS. . Mr. K. HUMBLE Members of the Conservatorium Finance Committee appointed annually: Professor R. I. DOWNING Professor R. SAMUEL Member of the Professorial Board appointed annually: Professor Sir ARTHUR AMISS Other members appointed annually: Mrs. HERBERT ROOKES DR. J. A. STEELS Miss D. IRWIN В Miss R. FLOCKART Professor K. H. HUNT TEACHING STAFF Orchestration; Harmony; Counterpoint; Miss MAY CLIFFORD, B.lus. Ir. JOHN INGRAM, B.Ius. F.T.C.L. Composition; Music A, B, C and D (Second Study) THE ORMOND PROFESSOR Mr. BERNARD DE OLEVEIRA, Dip.Mus. THE VICE-DIRECTOR (Second Study) Senior Lecturers: .JACOB КАLЕТSКУ Dr: P. G. DOWNS," . . (Leeds), МгIr. RODNEY SIGSTON, lins. MMus. Ph.D. (Tor.)В А Мr. КЕITI HUMBLE, Dip.Mus. Stinging Lecturers: Lecturer: Mr. DONALD. THORNTON, B.Mus. Miss ELSA HAAS (Lood.), B.Sc. (W.A.). Ir. GRAHAM BARTLE, B.A., Blus., Part-time- teachers: Dip.Ed. Mr. VALENTINE WOFF Mr. VICTOR HARDING, A.R.C.M. Part-time teachers: Miss VIOLA MORRIS Мт. JOHN INGRAM, Blus., F.T.C.L. Miss VICTORIA ANDERSON Mr. BERNARD DE OLEVEIRA, Dip.Mus. Mr. ANTONIO MORETTI•PANANTI Dr. CLIVE DOUGLAS, D.Mus. Ir. BRIAN HANSFORD Miss MARGARET CRAWFORD, M.ius. Part-time Tutor: Organ Mr. RODNEY SIGSTON, M.Mus. Ir. GEORGE FINDLAY, B.Ius. Part-time Tutor in Graduate Studies: Mr. LANCE HARDY, B.Ius. (Lend.), F.R.C.O., A.R.C.M. Mr. FELIX WERDER Mr. JOHN EGGINGTON Mr. SERGIO DI PIERI Pianoforte Mr. JOHN MALLINSON, Blus., ARC.'., Senior Lecturers: L. .A.M. Mr. ROY SHEPHERD Mr. MAX COOKS, Dip.Mus. Perfectionnement, &me degr Violin (Ecote Normale de Musique,ć Paris) Senior Lecturer: Part-time lecturers: Ir. JOHN GLICKMAN Mr. MACK JOS , B.Mus., Dip.M.Ius., L.R.A.M. Т Part-time teachers: Ir RONALD FARREN PRICE, Dip.Mus. Mr. W. MALLINSON, Dip.Mus. Mr. NATHAN GUTMAN, Dip.Ius., Ius.Baс., Part-time teachers: .Law (Warsaw) Ir. PAUL McDERMOTT, Dip.Мus. Mr. G. W. IcKEOWN, Dip. us. Mr. BORIS STUPEL Mr. WALDEMAR SEIDEL М Mr. RAYMOND LAMBERT MissERMIA H BARTON,. BMus. Miss VERA BRADFORD. Dip. us. Mr. HARRY HUTCHINS Miss NANCY WEIR F.R.A.M.М Mr. VICTOR STEPIIENSEN, Dip.Mus. Viola Miss JUNE McLEAN, BMus. Senior Lecturer: Mr. ALLAN FRASER, В.Мus. Ir. JOHN GLICKMAN. Part-time teachers: Chamber Orchestra Mr. W. MALLINSON, Dip.Mus. Mr. PAUL O'BRIEN, Blus. Mr. JOHN GLICKMAN Mг. JOHN KENNEDY, F.R.A.M Violoncello Senior Lecturer: Ear Training Mr. JOHN KENNEDY, F.R.A.M. Miss JUNE McLEAN, BMus. Part-tine teachers: Mr. RODNEY SIGSTON, M.Mus. Mr. HENRI TOUZEAU Miss OTTI VEIT, A.R.C.M., L.R.A.M. Chamber Music Miss VALERIE AWBURN, BMus. Mr. JOHN KENNEDY, F.R.A.M. Miss PEERS COETMORE Mr. JOHN GLICKMAN Miss MARIANNE MAXWELL, B.Mus. Mr. L. R. BARKLAMB, Dip.Mus. String Bass Choral Class Mr. TOM HOWLEY (School Music Lectures) Miss MARIANNE MAXWELL, BMus. Miss ALEXANDRA E. CAMERON, B.Mus., Wind Instruments B.Ed. Part-time Lecturer: Accompanying Mr. L. R. BARKLAMB, Dip.Mus. Mr. ROY SHEPHERD Mr. MAX COOKS, Dip.Mus. Flute Mr. L. R. BARKLAMB, Dip.Mus. Music Literature Miss AUDREY WALKLATE, BMus. Miss JUNE McLEAN, BMus. Miss MARGARET CRAWFORD, MMus. (Second Study) Art of Teaching Oboe Mr. ROY SHEPHERD Miss JUDITH EA5TON Mr. JOHN KENNEDY, F.R.A.M. Mr. JOHN GLICKMAN Miss ELSA HAAS Clarinet Mr. MAX COOKS, Dip.Mus. Miss ISOВEL CARTER, B.Mus., A.R.C.M. Methods of Teaching Bassoon Mr. MANUEL GELMAN, M.A. BEd. Mr. GEORGE DREYFUS Music and Movement French Horn Mrs. N. KIRSNER Mr. ROY WHITE Mr. ALEX GRIEVE Stage Craft Trumpet Miss ELSA HAAS Mr. M. SIMPSON Mг. STANDISH ROBERTS English Diction, Art of Speech and Dramatic Art Trombone Miss DOROTHY DWYER, L.T.C.L. Mr. H. WILLIS German Harp Mise EVA RUFF, M.A. Ir. ADRIAN BENDALL French Рerсussioп Dr. ALLAN HOLLAND, B.A. (Syd.), Mr. G. CRAIG Dip.d'Etudes (Bordeaux), D.U.P. Mr. E. LIGHTON Chorus Italian (Tas.) THE ORMOND PROFESSOR Mr. LUCIANO BINI, B.A. Dr. PERCY JONES Acoustics Orchestra Dr. В. M. SPICER, M.se., Ph.D THE ORMOND PROFESSOR Mr. JOHN GLICKMAN Guitar Mr. JOHN KENNEDY, F.R.A.M. Miss SADIE BISHOP

10

CØTER 1 ANNUAL REPORT OF THE DEAN OF MUSIC, 1965 Enrolments The figures given below show a consistent pattern of enrolments in all courses during the last three years. The number of single study students is expressed as an average in first and second terms: 1963 1964 1965 Degree of BMus. and Dip.Mus. 201 190 199 Degree of MMus, ...... .. 9 15 12 Single Studies .. .. .. 298 318 299 Arts students, Degree of В.А...... 61 79 68 Degree of М.А. .. .. 3 2 2 A quota limiting the total first year enrolment to seventy in the B.Mus. and Dip.Mus. courses was introduced at the beginning of 1965. Thirty-seven first year students were admitted to the B.Mus. course, and twenty were enrolled for Dip.Mus. Sta$ It is with deep regret that the death of Mr. Bernard D. Clarke, Dip M.Mus. is recorded. Mr. Clarke was appointed to the staff in 1962 as a teacher of the Organ and he did valuable work for the Conservatorium. For many years he was organist of All Saints Church, East St. Kilda, where his services as a church musician and teacher were important in promoting high standards. He will be remembered at the Conservatorium as a loyal colleague with splendid ideals, and as a former student of whom the University can be proud. - Two Senior Lecturers, Dr. Noel Nickson and Dr. Basil Deane, are leaving the Conservatorium . at the end of this year. Dr. Nickson has been appointed Professor of Music at the University of Queensland, and Dr. Deane returns to the United Kingdom as Lecturer in Music at the University of Nottingham. Both have made a distinguished contribution to the musical life of the Conservatorium and will be greatly missed. We wish them every success in their new positions. Miss Margaret Crawford has been appointed to the staff as a teacher of the Flute and of Orchestration; Mr. Rodney Sigstnn has been appointed as a teacher of Pianoforte and Ear Training, and also as a Part-time Tutor in the History of Music. Miss Judith Easton has rejoined the staff as a teacher of Oboe and Miss Eva Ruff has returned to teach German in the Vocal School. Mr. John Mallinson has been appointed as a teacher of the Organ, and during the absence of Mr. Manuel Gelman on overseas leave, Mr. Kevin Siddell has been temporarily appointed to lecture on Methods of Teaching. Miss Tamara Coates and Mr. Ian Harris have resigned as teachers of the Oboe; Mr. G. W. Miller has resigned as a teacher of the French Horn. Mr. Felix Werder has joined the staff as a Part-time Tutor in Graduate Studies. - Miss Elsa Haas was granted overseas study leave this year. Dr. Percy Jones was granted special leave to enable him to act as a member of the international committee appointed by the Roman Catholic Church to revise the liturgy and its- music. An extension of leave until July 1960 was approved for Miss Audrey Walklate and Mr. John Eggington. Dr. Percy Jones has been appointed Acting Professor of Music and Acting Director of the Conservatorium during the absence of the Ormond Professor on overseas leave in 1966; Mr. Roy Shephеrd has been appointed Acting Vice-Director of the Conservatorium in that year. Exhibitions and Scholarships Nearly all the Conservatorium Exhibitions and Scholarships have been awarded again this year, which is further evidence of their continuing value as a means of assistance to students who may not be eligible to apply for other awards such as Commonwealth Scholarships or Secondary Studentships provided by the Victorian Education Department. It is expected that two important Exhibitions will be added in 1966. Appreciation is expressed of the interest and co-operation of the President and members of the Austral Salon, who have once again made available their valuable 11 scholarship. Thanks are also due to the members of the Music Lovers' Society for the continuance of their exhibition. Concerto and Vocal Competitions As previously, the Conservatorium was well represented among the entrants for the Concerto and Vocal Competitions conducted by the Australian Broadcasting. Commission. Ken Griffiths ( Pianoforte) is to be congratulated upon winning the State Competition in the keyboard section and upon gaining second place at the Commonwealth final. Rosslyn Wortley, a recent graduate of the Conservatorium, was highly commended at the State final. Sidney Myer Free Concerts A Summer Festival of four Sidney Myer Free Concerts was presented in February at the Sidney Myer Music Bowl by the University in association with the Australian Broadcasting Commission. The Victorian Symphony Orchestra was con- ducted by Sir Malcolm Sargent and John Hopkins, and the soloists were Beryl Кimbеr and Isador Goodman. Miss Kimber appeared in Mendelssohn's Violin Concerto, and Mr. Goodman played Rachmaninov s Second Pianoforte Concept°. The orchestral works included symphonies by Haydn, Brahms, Tchaikovsky, Sibelius and Dvorak. The Festival was an artistic success, and the very large number of people who attended the concerts were able to enjoy a musical experience offered at a high level. Appreciation is expressed of the part played by the director of the Music Bowl, Mr. Paull Fiddian, in organizing and presenting the Festival in association with the Australian Broadcasting Commission. Conservatorium Choir and Symphony Orchestra During the year the Conservatorium Choir has presented the Dettingen Te Deum by Handel and The Rio Grande of Constant Lambert, the latter with the Conservatorium Orchestra. In The Rio Grande the solo pianoforte part was played by Penelope Thwaites; Neiene Gilmour sang the contralto solo. At the time of writing this report rehearsals are in progress for a performance of Purcell's Ode "Hail Bright Cecilia", to be given at a lunch-hour concert at the end of third term. The conductors this year have been Dr. Percy Jones, Mr. Donald Thornton and the Ormond Professor. Dr. Noel Nickson has conducted orchestral concerts at which Violin and Piano- forte Concertos have been performed. Notable among the orchestral pieces played at these concerts was Dorian le Gallienne's last work, his Symphonic Study. The concerto soloists were Berenice Harrison, Rosslyn Wortley, Barbara Fiske, Janet Perkins and Ian McDonough ( Pianoforte) and Noel Collishaw ( Violin ). At the orchestral concert at the end of first term this year, under Mr. John Glickman, Beethoven's Fifth Pianoforte Concerto was played by Betty Pink, and orchestral works included Holst's Somerset Rhapsody and the Symphonic Suite "Lieutenant Кije" by Prokofiev. The mid-winter Choral and Orchestral Concert took place in August; on this occasion Sally Wawn was the soloist in the first Melbourne perform- ance of Stravinsky's Concerto for Piano and Wind Instruments. Thus the year has brought performances of a wide range of works, and of finely-written music which is seldom heard elsewhere. Conservatorium Chamber Orchestra This year the Conservatorium Chamber Orchestra has been conducted by Mr. John Glickman and Dr. Basil Deane. Among works presented were Mozart's Sym phony in C major, К.425 and Irkanda IV, a composition by the young Australian composer Peter Sculthorpe. Mozart's Flute Concerto in D major, x.314 was played by Alison Langdon at a concert in June; later in second term the soloists in a performance of J. S. Bach's Concerto for Two Violins and Orchestra were Claire Farmer and Noel Collishaw. Chamber Music A wide range of works has been performed at Chamber Music cоnсеrts given by students. Styles and media varied from J. S. Bach to Shostakovitch, and the programmes included Quartets by Haydn and Dvorak and the Mozart Clarinet Quintet. Five public recitals were given by candidates for the M.Mus. degree, at which the artists were Margaret Crawford (Flute), Elaine Fenn ( Pianoforte ) and John Lavender (Pianoforte). A vocal and pianoforte recital was given by Bevan Grieve and Haydn Reeder. 12 Opera School It is regrettable that owing to lack of finance it has nat been possible to re-open the Conservatorium Opera School this year. Thus this important activity, without which the Conservatorium cannot wholly fulfil its responsibility to the University and to the public, is still in abeyance. In emphasizing the need of an Opera School one must hope for the provision of adequate funds as soon as possible. Postgraduate School Advanced work is being pursued in both the academic and practical fields of the postgraduate school. In 190 two students have fulfilled all the requirements for the M.Mus. degree in the School of Instrumental Performance. In the fields of Musical History and School Music seven candidates are engaged upon the writing of theses. . Research work in the School of Musical History is mostly concerned at present with the nineteenth and twentieth centuries; it is expected that the acquisition of a harpsichord will promote special interests in music of earlier periods. Summer Bchool A successful. Summer School for teachers was conducted in January by the Conservatorium in conjunction with the Victorian Music Teachers' Association. This year, in addition to lectures on Pianoforte technique and literature, and lectures on the Theory of Music given by members of the Conservatorium staff, the programme included lectures relating music to other fields of study such as science, and painting. Tutorials were given, as previously, in string instruments and singing; an important new feature was a programme of study in School Music which consisted of a series of lectures given by well known school musicians, concluding with a panel discussion. Members of the staff, Conservatorium students, and school children took part in presenting a series of daily recitals. Thus a wide area of activity was covered, and as in the past it was felt that this week of intense study and discussion was of great value, providing oppor- tunities of re-assessment and the refreshment which comes from the interchange of ideas. Altogether, one hundred and seventeen persons enrolled, twenty-five of whom entered specially for the course in School Music. Thanks are due to the Director of the School, Dr. Noel Nickson, to Mr. Mai Cooke, the President of the Victorian Music Teachers' Association, ta the members of the staff, and to all who took part in contributing to the success of the School, which was the result of splendid co-operation and enthusiasm. Visitors A number of distinguished musicians have visited the Conservatorium this year. Professor Karl Ernst, Director of the Division of Creative Arts at the State College at Hayward, California, Professor Wilfrid Mellers, Professor of Music at the Uni- versity of York, and Peter Maxwell Davies, British composer, were invited to participate at the UNESCO School Music Seminar which was held at the University of Sydney in May following the Seminar each of these visitors spent a few days at the Conservatorium, giving lectures for students and for the public. Mr. Walter Gruner, of the Guildhall School of Music, London, gave lectures on singing and on the interpretation of German lieder, and Miss Selma Epstein, the Anierican pianist, presented a recital of contemporary music. Every visitor made a personal and important contribution to the musical life of the Conservatorium, whilst the two professors and Mr. Maxwell Davies each attracted a large audience of professional musicians and music lovers. Lunch-hour Concerts These weekly concerts during term in the Wilson Hall have continued to provide well-varied programmes ranging from Organ, Pianoforte and Vocal recitals to Chamber Music, Chamber Orchestral and Choral performances. Most of the concerts have been given by members of the Conservatorium staff, including the resident University ensemble, the Ormond Trio. The Students Chamber Orchestra and Choir have also taken part. The recitals have been well attended and audiences of University staff and students have ben able to hear not only well-known works, but also masterpieces such as J. S. Bach's Musical Offering in a performance with harpsichord, and Schumann's Die Davidsbundlertanze which is infrequently performed today. Mention must be made here of a lunch hour concert apart from the normal series which was given by the Melbourne Symphony Orchestra conducted by Dr. Clive Douglas with Mr John Glickman as soloist. We were very pleased to receive 13 Music—C the members of the M.S.O. and hope that they will be making further visits to the Wilson Hall in the future. Thanks are due to the University Union for its continued co-operation in presenting these programmes, which are a valuable feature of musical life on the campus. Melba Hall The normal programme of activity in the Melba Hall, comprising Conserva- torium Concerts, and recitals by members of the staff, has been increased this year with the addition of six student recitals and by its use for a series of public lectures. The acoustic treatment of the hall, which took place early in the year, has considerably improved conditions for both rehearsal and performance. This improve- ment in acoustics is appreciated, but it can only be regarded as a temporary benefit; the Conservatorium urgently needs a larger modern hall, more suitable for orchestral concerts. The use of the hall by city music societies has continued, and its important place at the centre of music-making in the community has once again been proved. Library New scores, books and records are continually being added to the library. This is as it should be, and it is unfortunate that such necessary expansion should cause increasing concern as to the lack of adequate accommodation. In an important sense the library is at the centre of musical endeavour in the Conservatorium and it is vital that it should be large enough and in possession of the facilities required to promote its work. At present, this is far from the case. A valuable and comprehensive collection of books and scores has been presented to the library by Miss Ruth Flockart. In ex ressing appreciation of this generous gift, one may assure Miss Flockart, who has done so much for music in Melbourne, that it will be of considerable assistance to future generations of students. Australian Music Examinations Board In both the May and September examinations this year the number of entries rose above that of 1964, the increase in September approaching two hundred can- didates. Comparative figures are as follows: 1963 1964 1965 May .. 1,950 2,178 2,191 September •. .. .. 11,836 12,058 12,243 Thus the Board's work continues as a means of developing musical training from primary to advanced levels; it is of inestimable importance to the welfare of the art in both State and Commonwealth. Once again, appreciation is expressed of the work of the examiners and of the administrative staff. The value of this work cannot be over-emphasized, for it contributes directly to the maintanance of musical standards. This year Miss Hermia Barton, Mr. John Lavender and Mr. Rodney Sigston have been appointed examiners. The resignation of Dr. J. A. Steele was accepted with regret. For a very long period Dr. Steele has given loyal and distinguished service as an examiner. Accommodation and Equipment The serious inadequacies in accommodation and equipment at the Conserva- torium become more difficult to surmount as time goes on. Both students and members of staff are under-housed; in consequence, musical progress is made less easy and more demanding than it should be in terms of practical requirements. It is impossible to overstate the urgent need of a modern music building, properly planned and equipped, to fulfil the University's responsibility for the development of music in this State and in the Commonwealth. The provision of five new upright pianofortes this year has assisted in the maintenance of standards in the Pianoforte School. This is appreciated. Acknowledgements On behalf of the Faculty of Music, the Dean wishes to thank the University Council for its continued support of musical studies and activities. He also wishes to acknowledge the splendid co-operation and assistance of the members of his Faculty and of the Conservatorium staff throughout the year. CEORGE LOUGHLIN Ormond Professor October, 1965 Dean of the Faculty of Music 14 CHAPTER 2

COURSES OF STUDY The Faculty of Music offers courses of study leading to the degrees of Bachelor of Music, Master of Music and Doctor of Music, and ta the Diploma in Music and the Concert Diploma in Music. The various Schools, as set out in the regulations on pages 26-36 provide for specialization in an instrument, Singing or Composition, and the School of School Music affords a course of study for those desirous of teaching Music in schools. Although the curricula, which are comprehensive, are designed to meet the requirements of candidates for the several degrees and diplomas, other students may, with the permission of the Ormond Professor of Music, take single subjects. For details of Subjects see page 37 et seq. Admission L The prerequisites for admission to the courses are as follows: (a) For the B.Mus. Degree Course—Candidates must satisfy the university entrance requirements of the Victorian Universities and Schools Exami- nations Board and pass Music (Practical) and Music (Theoretical) at the Matriculation Examination; (b) For the ordinary Diploma Course—Passes at the examinations conducted by the Australian Music Examinations Board in any combination of Theory and Practice of not less than Fifth Grade standard. 2. For the higher degrees and the Concert diploma candidates are referred to the relative regulations on pages 33 and 35. 3. Degree and diploma students are normally expected to enter the Conserva- torium at the beginning of the year. Examinations Students who have satisfied the requirements as to prerequisites ( see above, and also regulations, pages 26-36, and attendance at lessons and lectures may, without payment of extra fees, enter for the annual University Examinations for the degree or diploma. Particulars of examinations conducted by the Australian Music Examina- tions Board will be found in the Manual of the Board. Certificates University Certificates of attendance at lectures or classes and of subjects passed at Annual Examinations can be obtained on payment of a fee of $2. Certificates of completion of any year of the course for the degree or diploma are issued upon application without charge. Concert Diploma in Music Candidates for this diploma must in the opinion of a panel of examiners show outstanding promise as solo performers. Prerequisites Passes in Seventh Grade Practice and Fifth Grade Theory (A.M.E.B.) or at other approved examination. Single Studies With the approval of the Ormond Professor students who are not candidates for the degree or diploma may enter for study in an instrument, Singing, Composition or Theory. Single Study students are entitled to attend the weekly. Students' Recital and may join the Conservatorium Chorus or Orchestra. Single Study students who are Scholarship or Exhibition holders are required to take part in one of the two latter activities, although in special cases exemption may be granted. 15 Admission 1. There are no prerequisites for admission as a Single Study student. 2. Single Study students may enter the Conservatorium at any time during term. 3. The Secretary will be in attendance from February 1 to interview prospective Single Study students by appointment. Special Classes Special classes for students of Wind Instruments and for Chamber Music, Music for Two Pianofortes, French, German, Italian, Diction, or any other subject approved by the Ormond Professor, may be arranged at any time, and are not confined to students of the Conservatorium.

University Conservatorium Symphony Orchestra Rehearsals of the University Conservatorium Orchestra are held each term. Students in the degree and diploma courses whose Chief Study is an orchestral instrument must attend these rehearsals. Students in the degree and diploma courses whose Second or Additional Study is an orchestral instrument must attend if a sufficient degree of proficiency has been attained. Membership is open to outside players without payment of fee.

University Conservatorium Chorus Rehearsals of the University Conservatorium Chorus are held weekly. Students in the degree and diploma courses whose Chief Study is Organ, Pianoforte, Singing or Composition must attend these rehearsals unless they are members of the Con- servatorium Orchestra. Opera School The Opera School provides a comprehensive course in Opera, and will give both public and private performances. Entry is not confined to Conservatorium students. The course will normally be of three years' duration, but may be extended in certain circumstances. Membership is subject to audition from time to time. Students' Recitals Weekly recitals are given at which students have an opportunity of gaining experience in public performance. Students are selected for performance an the. recommendation of members of the staff, and attendance is compulsory for all degree and diploma students in the first and second years.

Orchestral Instruments The Lady Northcote Permanent Orchestra Trust Fund has placed at the disposal of Conservatorium students and orchestral players a complete set of instruments which were presented by the late Dame Nellie Melba, and, in addition, a complete set of woodwind instruments. These instruments are available for the use of students and members of the orchestra at a hiring fee of $3 per term. Instruments are delivered to students in good condition and students are responsible for maintaining them in good repair at their own expense.

Practising Facilities A limited number of rooms is available at certain times for students' ensemble practice. Library Students have access to a library of works of reference in addition to orchestral, vocal, operatic and chamber music scores. Orchestral works are also available for approved borrowers on payment of a small fee. 16 Normal Pitch Standards The Government has deposited a set of Normal Pitch Standards in the University Physics Laboratory. These are available for use on payment of a small fee. Degree and Diploma Courses Enrolment An Enrolment Card, which may be obtained at the Conservatorium ofïce, must be duly filled in at the beginning of each year and lodged with the Secretary of the Conservatorium. In 1966 the last day of lodgment of Enrolment Cards is 28 January. Failure to comply with this requirement by the above date renders a student liable to a late fee of ten shillings. Payment of Fees L Fees may be paid annually or in terminal instalments. 2. All fees must be paid into the University's account at a branch of the National Bank of Australasia. A branch of the bank will be found next to the Bookroom. Upon payment of fees the student is furnished with a pay- in slip by the bank which must be lodged with the Secretary of the Conservatorium along with the Enrolment Cards at the time of initial entry and at the beginning of each academic year. In the case of subsequent terms during the year the pay-in slip only is required and this must be lodged with the Secretary on or before the date prescribed on page 5 of this Handbook. Failure to comply with these requirements renders a student liable to a late fee of $1. 3. No student shall be admitted to the Annual Examinations unless the full fee for the year has been paid. Single Studies Enrolment An Enrolment Card, which may be obtained at the Conservatorium Office, must be duly filled in and lodged with the Secretary of the Conservatorium before the commencement of lessons. Fresh enrolment must be made at the beginning of each academic year. Payment of Fees L Fees are paid in terminal instalments or for the whole year. 2. All fees are to be paid by Crossed Cheque or Money Order made payable to the University Conservatorium of Music and must be lodged with the Secretary with the special enrolment card at the time of the initial entry each year. Subsequent payments for each term must be forwarded to the Secretary,. Conservatorium of Music, Parkville, N.2, at the beginning of each term (see dates below). 3. Students enrolled for Single Study tuition are not entitled to use University facilities. Term Dates for 1966 First Term—*February 21 to May 21 . Second Term—*June 14 to August 13 Third Term—*August 29 to October 15 Fourth Term-*October 31 to December 17 Matriculation Roll When beginning a course for á degree or diploma which requires matriculation, all students must pay the prescribed fee, make the prescribed declaration and sign the matriculation 'roll at the Students' Records Office. The dates fixed for niatricu- lating in 1960 are 19 and 28 April and 16 June. Unless this is done no subjects passed can count towards a degree or diploma requiring matriculation. Before enrolling students should satisfy themselves that they are eligible to sign the matriculation roll. *Fees are due and payable on the dates first mentioned above. Terms will be strictly in accordance with these dates. If a student wishes to cancel his tuition at any time, he must notify the Secretary of the Conser'vatorium in writing immediately. Once lessons commence fees will not be refunded under any circumstances. 17 In order to be eligible to sign the matriculation roll, candidates must have- ( a) satisfied the university entrance requirements of the Victorian Universities and Schools Examinations Board. Full information regarding the board's requirements and conditions of exemption may be obtained from the secretary of the board, 437 St. Kilda Road, Melbourne. (b) satisfied the special course requirements, if any, for their particular course, and (c).attained the age of seventeen years by 31 March of the year concerned, and (d) been selected for and enrolled in their course. Special Course Requirements In addition to satisfying the university entrance requirements, candidates must also have passed the prerequisite subjects (if any ) prescribed for their course. For the course for the degree of Bachelor of Music, the prerequisites are passes at the Matriculation Examination in Music ( Practical) and Music ( Theoretical ); provided that in lieu of Music ( Practical) and Music ( Theoretical) a candidate may pass the examination of the first year of the course for the diploma in Music. Matricu- lation candidates who enter for Music ( Practical) or Music ( Theoretical) are not permitted to enter in the same year for Musical Appreciation. In special cases can- didates may be given special treatment as regards prerequisites. Enquiries in such cases should be made of the Registrar. Graduation The dates for conferring degrees in 1966 are as follows: Wednesday, 16th March Wednesday, 27th Aprii Arts Ants Engineering Law Music Science . _ Dentistry Agriculture Commerce Architecture Education Applied Science Town & Regional Planning Saturday, 26th. March Wednesday, 17th August Arts Ants Medicine Law Law Engineering Science Music Agriculture Dentistry Architecture Commerce Saturday, 17th December Saturday, 16th April Medicine Arts Science Engineering Agriculture Music Architecture Dentistry Education Commerce Applied Science Education Town & Regional Planning Candidates for degrees and diplomas must lodge an application on the prescribed form, obtainable at the Registrar's Ofiîce, by the date set down in the list of principal dates. This application must be accompanied by a bank-slip for the degree or diploma fee. Rules of Conservatorium Affecting Students 1. No change of teacher or class may be made without the consent of the Director. 2. No lesson or lecture may be attended in any term unless the student's name is on the relevant Roll Book, or written authority to attend has been obtained from the Secretary's office. 18 З. Notice of absence from any lesson or lecture must be sent as early as possible to the teacher or Iecturer concerned. Notice of any prolonged absence must be sent to the Secretary. 4. Students must be in attendance for lectures at the hours appointed on the time-table; instruments must be tuned and ready for use. 5. Additional lessons or lectures in any subject should in every case be arranged with the Secretary. 6. All business matters must be arranged through the office. 7. Practising arrangements must be made at the ofce. . Students' Concerts Students are required to take part in Students' Concerts as arranged by the Director. Public Performance Degree and diploma students may not take part in public performances, or enter for any examinations, outside the University, or publish compositions without the permission of the Director. Notice Board . Students are expected to pay due attention to official notices on the Notice Board.

19 CHAPTER 3 EXHIBITIONS, BURSARIES, PRIZES AND FINANCIAL ASSISTANCE Entrance Exhibitions . The following Exhibitions are offered for competition in February each year: 1. Ormond Exhibitions (founded by public subscription in 1897). Three Exhibitions to the value of $50 each. Two of these Exhibitions are open only to candidates who have qualified to enter upon the course for the degree or diploma. The third is open without any restriction. 2. Examination Board's Exhibition& Three Exhibitions giving free tuition in the course for the degree or diploma. Open only to candidates who have qualified to enter upon the course for the degree or diploma. These Exhibitions will be given in the first instance for one year, but they will be renewable for two further periods of one year each, if the Orrnond Professor is satisfied with the work and progress of the exhibitioner, subject to the regulations. An Exhibition may be suspended at the end of any year until the holder has passed the examinations for the corresponding year of the degree or diploma course. З. Conservatorium Exhibition. One Exhibition to the value of $80, open with- out restriction to intending degree, diploma or single study students. Other Exhibitions Ormond Exhibitions. At the annual examinations each year the following Ex- hibitions will be awarded: (a) First Year Diploma—Three Exhibitions to the value of $50 each for candi- dates entering upon the Second Year of the diploma course or the First Year of the B.Mus. course in the following year. (b) Second Year Diploma and First Year B.Mus.—Three Exhibitions to the value of $50 each for candidates entering upon the Third Year of the diploma course or the Second Year of the B.Mus. course in the following year. ( c) Third Year Diploma and Second Year B.Mus.—One Exhibition to the value of $50 for candidates entering upon the Third Year of the degree course in the following year. Entry and Examination Entry.-Entry forms must be lodged with the Secretary of the Conservatorium on or before the date prescribed on page 5 of this Handbook. Entry forms may be obtained at the University or the Music Houses. Fee.—One fee of $1 will cover entry for all the Exhibitions for which a candidate is eligible, excepting that for the F. W. Homewood Memorial Scholarship and for the Walter Kirby, Muriel Cheek and the Austral Salon Scholarships an additional fee of $1 is payable. Examination.—There is no prescribed work for the Examination; it will be a fifteen minutes' test of the general proficiency of the candidates and of their fitness to profit by the teaching of the Conservatorium. Regulations Concerning Exhibitions 1. Ni student may hold more than one exhibition at the same time. 2. No student having held an Entrance Exhibition will be permitted to compete for the same exhibition a second time, nor will a student having held an Ormond Entrance Exhibition or an Exhibition of the Australian Music Examinations Board be eligible to compete for any further Entrance Exhibition. 20 3. No student of the Conservatorium having passed the First Year of the course for the degree or the diploma will be eligible to compete for any Entrance Exhibition. 4. No student to whom an exhibition is awarded will be entitled to receive the amount thereof unless he attends the Conservatorium of Music of the University of Melbourne and enters upon the course for the degree or diploma, excepting that the winner of the Conservatorium Entrance Exhibition or of one of the Ormond Entrance Exhibitions may be a single study student. 5. Exhibitioners must pay the balance of the prescribed fees for the year before availing themselves of the advantages of the exhibitions. 6. iudcnts holding exhibitions may be examined by the Ormond Professor at any time during the tenure of the exhibition, and if he is not satisfied with the progress or the diligence of such student, he may recommend to the Council that the privilege of the exhibition be suspended or withdrawn, and the Council may thereupon, with or without further investigation, suspend or withdraw such privilege. Opera Exhibitions Four exhibitions entitling winners to free tuition in the Opera School will be awarded from time to time, as announced. Each exhibition will be for one year in the first instance, but may be renewed if the exhibitioner's diligence and progress are considered satisfactory. Bursaries The following bursaries which are open to students of all faculties can be applied for by Conservatorium students: Dick Bursaries.—There are seventeen of these bursaries of a value of $100 each open to students qualified to enter a degree course and needing financial assistance. Moran Bursaries.—There are two of these bursaries of a value of $180 per annum each, one open to students nominated by Wesley College and the other open to students nominated by Methodist Ladies' College. Rest Home Bursary.—This bursary is of the value of $90 per annum and is open to a child of a member of the A.I.F. killed or incapacitated in the 1914-18 War and who is qualified to enter a course and needs financial assistance. War Bursaries.—There are six of these bursaries which pay tuition fees and are open to children of persons killed or disabled in the 1914-18 or 1939-45 Wars. All the above bursaries are available for the duration of the bursar's course and applications should be submitted to the Accountant of the University by 12 February, 1966. The following bursaries will be available in 1966: Dick, Moran (Wesley), Rest Home and War. Scholarships The following scholarships which are open to students of all faculties can be applied for by Conservatorium students: Aitchison Scholarships.—There are two scholarships of a value of $140 each open to male undergraduates, not more than 22 years old, with at least one year of a degree course completed and needing financial assistance. They are tenable for one year with a possible extension to three years. Applications should be submitted to the Accounts Department by 31 January, 1966. Edwin Norms Smith Scholarship. _This scholarship of the value of $100 per annum is open to students qualified to enter a course, of good character and needing financial assistance, and is tenable for the duration of the course. The following scholarships are available to Conservatorium students only: F. W. Homewood Memorial Scholarship: A Scholarship known as the "F. W. Homewood Memorial Scholarship" was established in 1933 by students and friends of the late Mr. F. W. Homewood. The fund has been augmented by the proceeds of a Farewell Appreciation Recital given in 1951 by Rosemary Bassent, the Home- wood Scholar for 1949, 1950 and 1951. The Scholarship is awarded to assist the further studies of a holder of either the degree of bachelor of Music or the diploma in Music. Candidates must have 21 completed the course for the degree or diploma not more than five years previously, except that in special circumstances approved by the Ormond Professor a person of more than five years' standing may submit himself as a candidate. The Scholarship is awarded for one year and is competed for annually. It may not be awarded to the same person on more than two occasions. The successful candidate will study Pianoforte with a teacher to be selected by the Ormond Professor who will consider the availability of suitable former students of the late Mr. Homewood. The value of the Scholarship is $100 per annum payable in four terminal instalments. The Scholarship is open. for competition in February at the examinations for the Conservatorium Entrance Exhibitions. The entry form of each candidate must contain a programme of works to be performed at the examination, consisting of a Prelude and Fugue from the "48 Preludes and Fugues" by J. S. Bach, a movement from a Classical Sonata, one Romantic work, one post-Romantic work, and a movement of a Concerto, and must state the duration of the programme which will be heard in its entirety. Walter Kirby Singing Scholarship.—The late Walter Kirby bequeathed to the University the sum of $2,000 to establish a singing scholarship to be known as "The Walter Kirby Singin Scholarship". The Scholarship, which is open without any restriction, is awarded each year and the amount is the net income produced by the fund, and is applied first towards the fees payable for such course at the University Conservatorium as may be prescribed by the Ormond Professor. If any balance remain after the payment of these fees, it is paid to the scholar in half-yearly instalments in March and September. The Scholarship is awarded annually and for one year, but it may be re-awarded without examination to the previous holder. Austral Salon Scholarship.—A Scholarship to be known as "The Austral Salon Scholarship" was established in 1948 by the President, Committee and members of the Austral Salon. The Scholarship may be awarded to a First, Second or Third Year student taking the full course for the diploma or degree in either the Instrumental or Vocal School. It is awarded for one year, but may be renewed for three further periods of one year each on the recommendation of the Ormond Professor. The Scholarship is to the value of $150. One purpose of the Scholarship being to assist a needy student, if possible, candidates who wish to be considered on the ground of means will be required to submit a statement of their finапciаl position. The C. D. Hume Violin Scholarship.—Established by a gift of $2,000 by Mr. C. D. Hume, and first awarded in 1950. Candidates must be qualified to enter on the full course. The Scholarship is awarded annually for one year, the amount being the annual income of the fund, and the award may be renewed for two further periods of one year on the recommendation of the Ormond Professor. Alberto Zelman Memorial Violin Scholarship.—A Scholarship has been founded in memory of the late Alberto Zelman. Its value is the amount donated from year to year, and it may be used for violin study as approved by the Ormond Professor. T. Allan McKay Pianoforte Scholarship.—A Scholarship to be known as the "T. Allan McKay Pianoforte Scholarship" has been established by Mr. T. Allan McKay. There are no prerequisites, the holder studying pianoforte and such other subject or subjects as may be prescribed by the Ormond Professor. The value of the Scholarship is the income on $2,000. It is awarded in the first instance for one year, but may be renewed for two further periods of one year. Muriel Cheek Memorial Singing Scholarship.-Friends and admirers of the late Miss Muriel Cheek have established a Scholarship in singing to be known as the "Muriel Cheek Memorial Scholarship . There are no prerequisites. The value of the Scholarship is the income on $2,000. It may be awarded for three years, but its retention depends upon the diligence and development of the holder from year to year. M. and E. Кe$ord Scholarship.—A Scholarship to be known as the M. and E. Кefford Scholarship will be awarded annually to assist the musical education of children of British subjects by birth enrolled at the Conservatorium. The value of the Scholarship is the net income on $2,000. The Scholarship will be awarded by the University Council on the recommendation of the Ormond Professor of Music. The tenure of the Scholarship shall be for one year or for such further period as 22 may be determined by the Council upon the recommendation of the Ormond Professor. 1002 McCaughey ЅеhоІагѕћір .—Ву the will of the late Miss Mona McCaughey, three scholarships have been established for students in need of financial assistance —the Mona McCaughey Scholarship and the Elise Wiederman Scholarship, both for vocal studies, and the Una Bourne Scholarship for pianoforte studies. The tenure of each scholarship is one year, renewable from year to year, and the value is one-third of the net annual income on the bequest of $12,000. Lady Tuwвer Exhibitions.—By the will of the late Grace Melvin Turner, two exhibitions have been established in favour of students needing financial assistance in the degree or diploma schools, with preference to courses in solo performance. The value of each exhibition is full tuition and all compusory fees, together with a living allowance of $300. The tenure of each exhibition is one year, renewable from year to year. Prizes The Wright Prize, founded in 1902 by the will of the Reverend Robert Alexander Wright.—An annual prize of $30 for proficiency in performance on some instrument approved by the Ormond Professor, open to matriculated studentnat the examination of the First Year for the degree, or the Second Year for the diploma. The laude Harrington Prize.—Founded in 1908 by Miss laude Harrington (Mrs. Alberto Zelman ), who presented to the Conservatorium the sum of $100, being the amount won by her in an Operatic Competition at the Exhibition of Women's Work in 1907. The prize consists of books to the value of $6 and is given for proficiency in the art of accompanying a singer on the Pianoforte. It is open to au students taking a full course for the degree or diploma in Music. The examination is held in December, and consists of (1) prepared rehearsed accompaniments of various schools and styles; (2) unrehearsed work-reading at sight, and transposing. Entry is tote made at the same time as for the annual examinations, when a list of prepared works is to be submitted for the approval of the Ormond Professor. Lady Turner Prizes.—Founded in 1930 by the Misses Mary and Grace Turner to perpetuate the memory of Lady Turner, widow of the late Sir George Turner, P.C., K.C.M.G., for the encouragement of students in the study of music. The value of each prize is $7 and consist, at least in part, of a book suitably bound and inscribed. At the annual examinations in the First Year of the course for the diploma in Music two prizes will be available, one for a male and the second for a female student who, in the opinion of the Ormond Professor, show the most outstanding musical promise. Rosemarie. Kenny Prize. Founded in 1944 by Miss Rosemarie Kenny, who donated the sum of $746 to provide a prize for competition annually among students entering upon the final year of the degree course. The prize, consisting of the net annual income of the fund, is competed for in February and is awarded to the candidate who, in the opinion of the examiners, shows most promise in solo pianoforte playing. Florence lenk Meyer Prize.—The late Miss Frederika Meyer made provision b her will for the establishment of an annual prize to be known as "The Florence Menk Meyer Prize", to be awarded to the student who each year shows the most promise in the interpretation of music of Beethoven, Schubert, Chopin, Schumann and Rubinstein. The amount of the prize is approximately $34 per annum and, by direction of the Faculty, is to be open for competition in February of each year, amongst students entering on the final year of the B.Mus. course. Financial Assistance Commonwealth University Scholarships, (a) Open Entrance Scholarships—awarded on the total marks in the best three subjects (excluding English Expression) presented at the Matriculation Examination; applicants up to 25 years of age. (b) Later Year Scholarships—awarded on results obtained in approved 'river- sity courses; applicants up to 25 years of age. 23 (c) Mature Age Scholarships—awarded on whole academic record; applicants between 25 and 30 years of age or those not over 30 years of age on 1st January of the year in which the course was commenced. Benefits. All compulsory fees. Full-time students may be granted a living allow- anсе subject to a means test. All enquiries should be made from: The Officer-in-Charge, Commonwealth University Scholarships Branch, Education Department, University Grounds, Parkville, N.2. Cowrie Scholarships Open to members of the Armed Forces 1939-45 War, or descendants. Benefits. A grant of $150 per annum. Enquiries from The Secretary, The Gowrie Scholarship Trust Fund, Box 2069, P.O., Sydney. Students' Loan. Fund Loans from $20 to $300 may be made to students pursuing courses satisfac- torily. A guarantor able and willing to guarantee the repayment of the loan must be provided. Enquiries from The Accounts Office, Registrar's Office, University of Melbourne, Parkville, N.2. Education Department Secondary Studentships Holders of studentships are bonded to the Education Department for three years after completion of the course. Benefits. All studies and registration fees. Living allowance. Enquiries from The Secretary, Education Department, Treasury Gardens, Melbourne, C.2.

24 CHAPTER 4

GENERAL INFORMATION

Student. Counselling and Housing The staff of the student counselling office (Mr. R. Priestley, Miss Marjorie Ross, Mr. Jon. Frederick, and Mrs. B. Robieson) are available to help students and intending students with problems such as choice of course or career, difficulties in settling down to study, adjustment to University life, accommodation problems and financial and personal difficulties. They are available in the usual University hours, preferablyy with,, but if necessary without, an appointment.., Matriculation students and others not yet enrolled at the University should ring for an appointment. The Student Counsellors' ofice is located at 268 Elgin Street, Carlton, and at 820 Swanston Street, Carlton. Enquiries about housing should be made at the latter address.

Appointments Board The Appointments Board provides the following free services: 1. Advice on Careers Long experience in matters relating to the employment and professional advance- ment of university men and women enables the officers of the Appointments Board to give reliable advice on professional careers. Careers handbooks may be obtained from the Appointments Board which also offers to students the use of a Careers library. This advisory service is carried on in close liaison with the student counsellors. 2. Employment Service (a) Vacation Work, Part-time Work and Odd Jobs (Miss Margaret Campbell) Undergraduates requiring vacation work should register early to give the board time to make the necessary arrangements; those wishing to work during the long vacation should register before the end of August. (b) Professional Employment The Appointments Board maintains a comprehensive register of professional vacancies which the secretary and assistant secretaries are glad at all times to discuss with graduates. This assistance is available also to those students who, for one reason or another, fail to complete their courses, and in these cases special effort is made to enable undergraduates to use their university training in employment.

Student Facilities Information about the Baillieu Library, the Union, the student health service, student housing, the book exchange and other facilities is given in the Orientation handbook which is distributed by the Students' Representative Council free of charge. to new students before the beginning of first term. The handbook also contains information about clubs and societies, sporting activities and other aspects of student life at the University. On 7 March, the Students' Representative Council arranges conducted tours of the main University buildings and opportunities for students to meet members of the teaching staff. Students receive a great deal of information about study at the University which may answer most of the practical questions which concern them before the beginning of term. 25 CØTER 5 REGULATIONS Regulation 3.56-Degree of Bachelor of Music 1. Subject to the provisions of section 11, candidates for the degree of bachelor of Music 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, pass the prescribed examinations and otherwise comply with the conditions of this regulation. Candidates may obtain the degree in any division or divisions of the following schools— A. Instrumental School (a) Performance ( b ) Teaching B. Vocal School (a) Performance (b) Teaching C. School of Composition D. School of School Music and the certificate issued to any person admitted to the degree shall set out the school and the division in which the degree has been obtained, and if the degree has been obtained in the Instrumental School shall set out the instrument in which the candi- date has qualified. Subject to the provisions of regulation 3.3 and to any special dispensation granted by the Professorial Board no candidate shall be permitted to enter for the examination of the First Year who has not at least six months before such examination passed or obtained honours in Music ( Theoretical) and Music ( Practical) at the matriculation examination or other examination approved for the purpose by the Professorial Board or passed the examination of the First Year of the course for the diploma in Music. 2. No candidate shall be admitted to the annual examinations in any Year of the course unless he has attended such classes and performed such practical work as may be prescribed from time to time by the Ormond Professor of Music: Provided that the Ormond professor may with the approval of the faculty exempt a candidate from such attendance or such performance. 3. When in any Year a candidate passes in some only of the subjects of the Year he 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 Ormond professor of Music may permit: Provided that a candidate, who has not passed in all the subjects of the first three Years of the course for the school of School Music, will not be permitted to enter upon the Fourth Year of that school except with the express permission of the Ormond professor of Music and the professor of Education. 4. The subjects of the pass and honour examinations of the various Years of the course in each division shall be as set out in the following table. When enrolling, students must quote the NUMBER as well as the name of the subjects listed below. A. Instrumental School—Divisions (a) and (b) 1st Year, Divisions (a) and (b) 1. 901. Chief Practical Study part II 2. 902. Second Practical Study part II 3. 903. Ear Training part I I By decision of the Professorial Board students who, having passed the school leaving examina• tio', have completed one Year of the course for the diploma in Music shall be declared qualified to matriculate on passing in English Expression and in one other subject not being Music (Practical) or Music (Theoretical) or Musical Appreciation at the matriculation examination. Students wishing to qualify to matriculate in this manner should consult the matriculation officer. 28 4. 904. Harmony and Counterpoint part II 5. 905. Music A 6. 906. Sight Reading part I 2nd Year, Divisions (a) and (b) 1. 908. Chief Practical Study part III 2. 909. Second Practical Study part II 3. 910. Ear Training part II 4. 911. Harmony and Counterpoint part III 5. 912. Music B 6. 913. Sight Reading part II 7. 907. Chamber Music 3rd Year, Division (a) 1. 914. Chief Practical Study part IV 2. 915. Second Practical Study part IV 3. 916. Harmony and Counterpoint part IV 4. 917. Music C 5. 918. Sight Reading part III 6. 907. Chamber Music 7. 919. Orchestration part I 8. 920. Accompanying ( Pianoforte and Organ) 9. 921. Music Literature part I 3rd Year, Division (b) 1. 916. Harmony and Counterpoint part IV 2. 917. Music C 3. 918. Sight Reading part III 4. 907. Chamber Music 5. 919. Orchestration part I 6. 920. Accompanying 7. 921. Music Literature part I 8. 923. Art of Teaching part I 9. 924. Methods of Teaching 4th Year, Division (a) 1. 925. Chief Practical Study part V 2. 907. Chamber Music 3. 926. Orchestration part II 4. 927. Music Literature part II 5. 928. Special Study 4th Year, Division (b) 1. 914. Chief Practical Study part IV 2. 915. Second Practical Study part IV 3. 907. Chamber Music 4. 926. Orchestration part II 5. 927. Music Literature part II 6. 929. Art of Teaching part II 7. 941. Elementary Acoustics 8. 928. Special Study B. Vocal School--Divisions (a) and (b) 1st Year, Divisions (a) and (b) 1. 901. Chief Practical Study part II 2. 902. Second Practical Study part II 3. 903. Ear Training part I 4. 904. Harmony and Counterpoint part II 5. 905. Music A 6. 906. Sight Reading part I 7. 938. Music and Movement 8. 931. Modern Languages part II 2nd Year, Divisions (a) and (b) 1. 908. Chief Practical Study part III 27 2. 909. Second Practical Study part. III 3. 910. Ear Training part II 4. 911. Harmony and Counterpoint part III 5. 912. Music В 6. 913. Sight Reading part II 7. 932. Modern Languages part III 3rd Year, Division (a ) 1. 914. Chief Practical Study part IV 2. 915. Second Practical Study part IV 3. 917. Music C 4. 919. Orchestration part I 5. 933. Vocal Literature part I 6. 934. Modern Languages part IV 3rd Year, Division (b) 1. 917. Music C 2. 919. Orchestration part I 3. 933. Vocal Literature part I 4. 923. Art of Teaching part I 5. 924. Method of Teaching 6. 934. Modem Languages part IV 4th Year, Division (a) 1. 935. Chief Practical Study part V (Concert) or 936. Chief Practical Study part V (Operatic) 2. 937. Vocal Literature part II 3. 939. Stage-craft 4. 940. Modern Languages part V 5. 928. Special Study 4th Year, Division (b) 1. 914. Chief Practical Study part IV 2. 915. Second Practical Study part IV 3. 937. Vocal Literature part II 4. 929. Art of Teaching part II 5. 939. Stage-craft 6. 940. Modern Languages part V 7. 941. Elementary Acoustics 8. 928. Special Study

C. School 0f Composition 1st Year 1. 942. Composition part I 2. 943. Second Practical Study part II (Pianoforte) 3. 903. Ear Training part I 4. 904. Harmony and Counterpoint part II 5. 905. Music A 6. 944. Instrumental Class (Strings) part I 2nd Year 1. 945. Composition part II 2. 946. Second Practical Study part III (Pianoforte) 3. 910. Ear Training part II 4. 911. Harmony and Counterpoint part III 5. 912. Music В 6. 919. Orchestration part I 7. 947. Instrumental Class (Strings) part II 3rd Year 1. 948. Composition part III 2. 949. Second Practical Study part IV (Pianoforte) 3. 916. Harmony and Counterpoint part IV 4. 917. Music C 28 5. 926. Orchestration part II 6. 921. Music Literature part I 4th Year 1. 950. Composition part IV 2. 951. Music D 3. 927. Music Literature part II 4. 928. Special Study D. School of School Music *1st Year 1. 952. Pianoforte part I and 953. Singing part II, or 954. Pianoforte part II and 955. Singing part I, or 954. Pianoforte part II and 956-1. Wind Instrument part I, or 956-2. Wind Instrument part II and 952. Pianoforte part I, or ' 944-2. String Instrument part II and 952. Pianoforte part I 2. 903. Ear Training part I 3. 904. Harmony and Counterpoint part II 4. 905. Music A 5. 906. Sight Reading part I 6. 938. Music and Movement 2nd Year 1. 910. Ear Training part II 2. 911. Harmony and Counterpoint part III 3. 912. Music B 4. 919. Orchestration part I 5. 913. Sight Reading part II 6. 960-1. Class Singing part I 7. 957. English Diction (lectures only) 8. 907. Chamber Music ( string and wind instruments) *3rd Year 1. 954. Pianoforte part II and 959. Singing part III, or 958. Pianoforte part III and 953. Singing part II, or 958. Pianoforte part III and 956-2. Wind Instrument part II, or 956-3. Wind Instrument part III and 954. Pianoforte part II, or 944-3. String Instrument part III and 954. Pianoforte part II 2. 916. Harmony and Counterpoint part IV 3. 917. Music C 4. 920. Accompanying 5. 921. Music Literature part I 6. 960-2. Class Singing part II 7. 907. Chamber Music (string and wind instruments) 4th Year 1. 301. History and Principles of Education 2. 320. Comparative Education 3. 303. Educational Psychology 4. 924. Methods of Teaching 5. 305. Practical Teaching 5. At the honour examinations of the First Year of the course for the diploma in Music three Ormond exhibitions of the value of $50 each shall be open for com- petition to candidates who are qualified to enter the course for the degree of bachelor • At time of going to press Legislation was in process of changing the order of these subjects. Consult the Secretary. 29 of Music and may be awarded for excellence in the subjects of that Year and for general artistic skill exhibited throughout the Year. 6. At the honour examination of the First Year three Ormond exhibitions of the value of $50 each shall be open for competition and may be awarded for excellence in the subjects of the examination for the First Year and for general artistic skill exhibited throughout the year.2 7. At the honour examination of the Second Year one Ormond exhibition of the value of $50 shall be open for competition and may be awarded for excellence in the subjects of the examination for the Second Year and for general artistic skill exhibited throughout the year. 8. No student shall hold more than one exhibition in Music at the same time and no student to whom an Ormond exhibition shall be awarded shall be entitled to receive the amount thereof unless he proceed with the full course of study at the University conservatorium of Music for the degree of bachelor of Music or for the diploma in Music and pay the prescribed fee for the Year. 9. Holders of the diploma in Music or candidates for the diploma in Music may on matriculating enter the course for the degree of bachelor of Music with such status as the faculty may determine. 10. When a candidate has completed any portion of the course for the degree in any of the schools refered to in section 1 hereof, the faculty may determine to what status the candidate will be admitted in any other of such schools. 11. For physical incapacity or disability or for other good cause shown, the faculty may allow a candidate to omit any subject from any 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. 12. Notwithstanding anything to the contrary, a candidate who before the 31st March, 1959, qualifies for the degree of bachelor of Music in any school under any regulation or regulations in force before 30th June, 1958, may be admitted to that degree. Regulation 3.57—Degree of Doctor of Music 1. Candidates for the degree of doctor of Music shall be bachelors of Music of at least five years' standing. 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 examiners 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.

Regulation 3.58—Diploma in Music 1. Candidates for the diploma in Music shall pursue their studies for three Years, attend such lectures and classes and perform such practical work as may be prescribed by the faculty of Music, pass the prescribed examinations and otherwise comply with the conditions of this regulation. Candidates may obtain the diploma in any division or divisions of the following schools— A. Instrumental School (a) Performance (b) Teaching

'The Wright prize in Music is also open for competition in this year. See regulation 6.15. 30 B. Vocal School ( a) Performance (b) Teaching C. School of Composition and the certificate awarded to any candidate shall set out the school and the division in which the diploma has been obtained, and if it has been obtained in the Instru- mental School shall set out the instrument in which the candidate has qualified. SubjJect to the provisions of regulation 3.3 . and to any special dispensation granted by the Professorial Board no candidate shall be permitted to enter for the examination of the First Year who has not, before such examination in school B, or at least four months before such examination in schools A and C, passed in Music fifth grade, both Theory and Practice, at the examinations of the Australian Music Examinations Board or other examination approved for the purpose by the Professorial Board. 2. No candidate shall be admitted to the annual examinations in any one year of the course unless he has attended such classes and performed such practical work as may be prescribed from time to time by the Ormond professor of Music: Provided that the Ormond professor may with the approval of the faculty exempt a candidate from such attendance or such performance. 3. When in any Year a candidate passes in some only of the subjects of the Year he 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 Ormond professor of Music may permit. 4. The subjects of the pass and honour examinations of the various Years of the course in each division shall be as set out in the following tai e- A. Instrumental School-Divisions (a) and (b)* 1st Year, Divisions (a) and (b) 1. 961. Chief Practical Study part I . 2.. 962. Second Practical Study part I 3. 903. Ear Training part I 4. 963. Harmony and Counterpoint part I 5. 900-1. History of Music part I 6. 906. Sight Reading part I 2nd Year, Divisions (a) and (b) 1. 901. Chief Practical Study part II 2. 902. Second Practical Study part II 3. 910. Ear Training part II 4. 904. Harmony and Counterpoint part II 5. 900-2. History of Music part II 6. 913. Sight Reading part II 7. 907. Chamber Music 3rd Year, Division (a ) 1. 964. Chief Practical Study A 2. 911. Harmony and Counterpoint part III 3. 918. Sight Reading part III 4. 907. Chamber Music 5. 920. Accompanying (Pianoforte and Organ) 6. 921. Music Literature part I. 3rd Year, Division (b) 1. 908. Chief Practical Study part III 2. 909. Second Practical Study part III 3.. 911. Harmony and Counterpoint part III 4. 918. Sight Reading part III 5. 907. Chamber Music 6. 920. Accompanying (Pianoforte and Organ) 7. 921. Music Literature part I 8. 923. Art of Teaching part I 9. 924. Methods of Teaching " Legislation is under consideration to provide for the discontinuance at the end of 1968 of the present performer's course for the Diploma in Music. 31 B. Vocal School-Divisions (a) and (b) 1st Year, Divisions (a) and (b) 1. 961. Chief Practical Study part I 2. 962. Second Practical Study part I 3. 903. Ear Tramming part I 4. 900-1. History of Music part I 5. 938. Music and Movement 6. 908. Sight Reading part I 7. 967. Modern Languages part I 2nd Year, Divisions (a) and (b) 1. 901. Chief Practical Study part II 2. 902. Second Practical Study part II 3. 910. Ear Training part II 4. 963. Harmony and Counterpoint part I 5. 900-2. History of Music part II 6. 933. Vocal Literature part I 7. 913. Sight Reading part II 8. 931. Modern Languages part II 3rd Year, Division (a ) 1. 964. Chief Practical Study A 2. 904. Harmony and Counterpoint part II 3. 937. Vocal Literature part II 4. 939. Stage-craft 5. 931. French part I or German part I ( Music course) 6. 932. German part II or French part II ( Music course) 3rd Year, Division (b) 1. 908. Chief Practical Study part III 2. 904. Harmony and Counterpoint part II 3. 937. Vocal Literature part II 4. 923. Art of Teaching part I 5. 924. Methods of Teaching 6. 939. Stage-craft 7. 931. French part I or German part I (Music course ) 8. 932. German part II or French part II ( Music course)

C. School of Composition ist Year 1. 942. Composition part I 2. 943. Second Practical Study part II (Pianoforte) 3. 903. Ear Training part I 4. 904. Harmony and Counterpoint part II 5. 900-1. History of Music Part I 6. 944. Instrumental Class (Strings) part I 2nd Year 1. 945. Composition part II 2. 946. Second Practical Study part III (Pianoforte) 3. 910. Ear Training part II 4. 911. Harmony and Counterpoint part III 5. 900-2. History of Music part II 6. 919. Orchestration part I 7. 947. Instrumental Class ( Strings) part II 3rd Year 1. 948. Composition part III 2. 949. Second Practical Study part IV (Pianoforte) 3. 916. Harmony and Counterpoint part IV 4. 926. Orchestration part II 5. 921. Music Literature part I 32 5. At the beginning of the First. Year two Ormond exhibitions of the value of $50 each shall be open for competition to candidates for the diploma in Music who have passed the school intermediate examination in Music, and one Ormond exhibition of the value of $50 shall be open to competition generally amongst candidates desiring to enter the University conservatorium of Music. These exhibitions may be awarded for proficiency in Music at an examination to begin on the Tuesday preceding the eighth Thursday in each year. 6. Candidates who complete their First Year shall be allowed in the same Year to compete for the exhibitions specified in regulation 3.56.5. 7. Candidates who complete their Second Year shall be allowed in the same Year to compete for the exhibitions awarded at the examination of the First Year for the degree of bachelor of Music ( see regulation 3.56.6). 8. Candidates who complete their Third Year at the annual examination shall be allowed in the same Year to compete for the exhibition provided for under regulation 3.58.7. 9. Candidates who have completed the three Years of the course and fulfilled the prescribed conditions may be awarded the diploma in Music. 10. No student shall hold more than one exhibition in Music at the same time and no student to whom an Ormond exhibition shall be awarded shall be entitled to receive the amount thereof unless he proceed with the fulI course of study at the University conservatorium of Music for the degree of bachelor of Music or for the. diploma in Music and pay the prescribed fees for the year. 11. Holders of the diploma in Music or candidates for the diploma in Music may on matriculating enter the course for the degree of bachelor of Music with such status as the faculty may determine. 12. When a candidate has completed any portion of the course for the degree of bachelor of Music under regulation 3.56, the faculty may determine to what status the candidate will be admitted in the course for the diploma in Music. 13. For physical incapacity or disability or for other good cause shown, the faculty may allow a candidate to omit any subject from any 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. 14. Notwithstanding anything to the contrary, a candidate who before 31st March, 1959, qualifies for the diploma in Music in any school under any regulation or regulations in force before 30th June, 1958, may be granted that diploma.

Regulation 3.58А—Concert Diploma in Music 1. Candidates for the concert diploma in Music shall pursue their studies for three years, attend such lectures and classes and регfoгш such practical work as may be prescribed by the faculty of Music, pass the prescribed examinations and otherwise comply with the provisions of this regulation. The certificate awarded to any candidate shall indicate, in the case of an instrumentalist, the instrument of the Concert Study for which the diploma has been obtained, and in the case of a singer, that the diploma has been obtained by the candidate as a singer. 2. (a) Before being admitted to the course, candidates shall pass an entrance examination, for which the examiners shall be the Ormond Professor of Music or his duly appointed representative, a Chief Study teacher or lecturer in the subject in which the candidate presents, and an examiner , appointed by the Ormond Professor. (b) The entrance examination shall consist of two parts— (i) a viva voce test in general musicianship, including ear training and sight reading; and (ii) a recital lasting about forty-five minutes of a programme to be submitted to and approved by the Ormond Professor of Music when the candidate applies for enrolment in the course. 3. A candidate who fails to satisfy the examiners of his fitness to enter the course may, at the discretion of the examiners, undergo a preliminary course of study to be prescribed by the Ormond Professor of Music prior to such candidate presenting again for the entrance examination, provided that no candidate shall pre- sent for the entrance examination a second time less than one year after the first attempt. 33 4. No candidate shall be permitted to present for the entrance examination who has not passed Music Practice seventh grade and Music Theory fifth grade at the examinations of the Australian Music Examinations Board or other examination ap- proved for the purpose by the Professorial Board. The said subject of Music Practice shall be the subject which will constitute the candidate's Concert Study as hereinafter prescribed. 5. No candidate shall be admitted to the annual examinations in any one Year of the course unless he has attended such classes and performed such practical work as may be prescribed from time to time by the Ormond Professor of Music; Provided that the Ormond Professor of Music may, with the approval of the faculty, exempt a candidate from such attendance or performance. 6. Where in any Year a candidate shall pass in any subject or subjects of the Year, he shall be entitled to credit therefor. A candidate who has failed in a subject or subjects of a Year may present himself for examination therein in any sub- sequent year, together with such subjects of the next Year as the Ormond Professor of Music may permit. 7. The subjects of the pass and honour examinations of the various Years of the course shall be as set out in the following table- 1st Year 1. 899-1. Concert Study part I 2. 900-1. History of Music part I 3. 963. Harmony and Counterpoint part I 4. 967. Modern Languages part I (for singers) 2nd Year 1. 988-2. Concert Study part II 2. 921-1. Music Literature part I 3. 900-2. History of Music part II 4. 920. Accompanying (for Pianoforte or Organ) 5. 907-1. Chamber Music (for Strings or Wind) 6. 931. Modern Languages part II (for Singers) 3rd Year 1. 899-3. Concert Study part III 2. 921-2. Music Literature part II 3. 907-2. Chamber Music (for Pianoforte, Strings or Wind) 4. 932. Modern Languages part III ( for Siпgеrs ) 5. 939. Stagecraft ( for Singers ) 6. 923. Art of Teaching part I 8. At the beginning of the First Year candidates shall be allowed to compete for the exhibitions referred to in section 5 of regulation 3.58, 9. Candidates shall be eligible to compete for the exhibitions refened to in sections 5, 6 and 7 of regulation 3.56. 10. Candidates who have completed the three Years of the course and fulfilled the prescribed conditions may be awarded the concert diploma in Music. 11. No student shall hold snore than one exhibition in Music at the same time and no student to whom an Ormond exhibition shall be awarded shall be entitled to receive the amount thereof unless he proceed with the full course of study at the University Conservatorium of Music for the degree of bachelor of Music or for the diploma in Music or for the concert diploma in Music and pay the prescribed fees for the year. 12. Holders of or candidates for the concert diploma in Music may be admitted to the course for the diploma in Music or may on matriculating enter the course for the degree of bachelor of Music with such status as the faculty may determine. 13. When a candidate has completed any portion of the course for the degree of bachelor of Music under regulation 3.56, or for the diploma in Music under regu- lation 3.58, the faculty may determine to what status the candidate will be admitted . in the course for the concert diploma in Music under this regulation. 14. This regulation shall come into operation on 1st January, 1966. 34 Regulation 3.63—Degree of Master of Music L Candidates for the degree of master of Music shall after completing the course for the degree of bachelor of Music and obtaining the approval of the faculty to their candidature pursue for not less than one year advanced studies in any one of the following schools: A. Instrumental Performance B. Vocal Performance C. Composition D. School Music E. Musical History and the certificate issued to any person admitted to the degree shall indicate the school in which the degree has been obtained and if the degree has been obtained in the Instrumental School the certificate shall indicate the instrument in which the candidate has qualified. 2. The programme of studies of each candidate shall be approved by the Or- mond Professor of Music who shall decide under whose direction the studies are to be carried out and shall require progress reports to be submitted at such intervals as he may think fit.. 3. The conditions prescribed for the aforementioned schools are as follows— A. Instrumental Performance 1. Candidates for the degree shall be bachelors of Music in the Instrumental School as performers, or bachelors of Music in the school of School Music who in the opinion of the Ormond professor are of outstanding ability as solo performers. They shall present themselves for the following examinations: (i) a practical test to be held during the progress of the course; (ii) two recitals, the second of which may be a public performance, the pro- grammes to be approved by the faculty of Music and to be widely representative provided that no candidate who has failed to satisfy the examiners at the first recital shall be permitted to present himself for the second recital; ( iii) a written examination; (iv ) a viva voce examination. 2. The practical examination of any candidate may not without the special permission of the faculty extend over a period of more than three months. В. Vocal Performance 1. Candidates for the degree shall be bachelors of Music in the Vocal School as performers, or bachelors of Music in the school of School Music who in the opinion of the Ormond professor are of outstanding ability as solo performers. They shall present themselves for the following examinations: (i a practical test to be held during the progress of the course; (ii) two recitals, the second of which may be a public performance, the pro- grammes to be approved by the faculty of Music and to be widely representative provided that no candidate who has failed to satisfy the examiners at the first recital shall be permitted to present himself for the second recital; ( iii) a written examination; (iv) a viva voce examination. 2. The practical examination of any candidate may not without the special permission of the faculty extend over a period of more than three months. C. Composition 1. Candidates for the degree shall be bachelors of Music in the school of Composition or in the Instrumental School. They shall: (i) submit compositions for examination as' prescribed by the faculty of Music; (ii) present themselves for a viva voce examination. D. School Music 1. Candidates for the degree shall be bachelors of Music in the school of School Music. 35 They shall: (i) submit a thesis upon a subject relating to music in schools as approved by the faculty of Music; (ii) present themselves for a written examination and viva voce examination. E. Musical History 1. Candidates for the degree shall be bachelors of Music in any of the aforementioned schools, including those who have qualified for the bachelor's degree in either the Instrumental School or the Vocal School as teachers. They shall: (i) submit a thesis upon a subject approved by the faculty of Music; (ii) present themselves for a written examination and viva voce examination. 4. Candidates who have fulfilled the conditions prescribed herein and who are bachelors of Music may be admitted to the degree of master of Music in the appropriate school or schools.

36 CHAPTER 6 DETAILS OF SUBJECTS DEGREE OF BACHELOR OF MUSIC AND DIPLOMA IN MUSIC GENERAL All students must attend either Orchestra or Chorus. WRITTEN EXAMINATIONS Written examinations in Harmony and Counterpoint, Orchestration and Element- ary Acoustics will take place immediately on the conclusion of lectures. VACATION READING Students are advised that they are expected to use a considerable part of the spring and summer vacations for reading purposes. In all cases the lecturers concerned should be consulted. НONOURS The syllabus for Honours will be the same as that for Pass, but to gain Honours candidates must attain a higher standard and show more detailed knowledge. LECTURES AND PRACTICAL WORK The provision in the details as to the number of lectures, tutorials, etc., and the hours of practical work are included for general guidance only and may be modified by the Faculty without notice if the necessity arises. EXTERNAL STUDIES None of the subjects of the course may be taken by external correspondence tuition. ATTENDANCE AT LECTURES AND CLASSES Students who fail to attend lectures and classes to the satisfaction of the Ormond Professor of Music will not be permitted to be present at the annual examination.

920. ACCOMPANYING A practical class of one hour per week throughout the year. EXAMINATION A practical test. Candidates will be expected to accompany satisfactorily a vocal and an instrumental composition of fairly difficult standard and to read at sight. 923. *ART OF TEACHING PART I A course of one lecture per week throughout the year. SYLLABUS The methods and materials used in teaching the candidate's Chief Study at elementary levels. BOOKS Prescribed textbook for Pianoforte: Last, J., The Young Pianist. (O.U.P., 1954.) EXAMINATION A practical and viva voce test, in which candidates will be required: (a) To explain and demonstrate (i) the mechanism of the instrument (or 'There will be an examination as prescribed but no special lectures in this subject for students whose Chief Study is a Wind instrument or Organ. 37 voice); (ii) the principles of technique (instrumental or vocal); (iii) the principles of phrasing; (iv) methods of teaching rhythm, sight reading, and aural training. (b) To submit a list of teaching material, studies and pieces, and to prescribe and discuss such elementary work as would lead up to the compositions in the list. (c) To show their method of instructing beginners, to describe the weak points found in the work of the average pupil, and to explain how these are to be remedied. (d) To detect and point out inaccuracies in the rendering of a composition well known to the candidate, performed in the presence of the candidate with a view to introducing such errors as are likely to be made by the average pupil. 929. *ART OF TEACHIN G PART II A course of one lecture per week throughout the year. SYLLABUS The methods and materials used in teaching the candidate's Chief Study at advanced levels. EXAMINATION A practical and viva voce test, in which candidates will be required: (a ) To submit a list of teaching material, studies and pieces suitable at advanced levels, and to demonstrate and discuss such material. (b) To describe the weak points found In the work of the average pupil, and to explain how these are to be remedied. (c) To detect and point out inaccuracies in the rendering of a composition well known to the candidate, performed in the presence of a candidate with a view to introducing such errors as are likely to be made by the average pupil. N.В.—Students are expected to take advantage of the opportunity afforded them of observing teaching methods in their Chief Practical Study by remaining in the room while other students receive tuition. 907. CHAMBER MUSIC A practical class of one hour per week throughout the year, for students whose Chief or Second Study is a string or wind instrument. Other students whose Chief Study is Pianoforte or Organ must attend as required. EXAMINATION (a) The performance of a work to be submitted to and approved by the Ormond Professor of Music. (b) Viva voce on the works studied during the year.

907-1. CHAMBER MUSIC (CONCERT DIPLOMA) A practical class of one hour per week throughout the second year for students whose Concert Study is a string or wind instrument, and throughout the third year for all instrumental students. EXAMINATION. (a) The performance of a work to be submitted to and approved by the Ormond Professor of Music. (b) Viva voce on the works studied during the year. CHIEF AND SECOND PRACTICAL STUDIES The details of Pianoforte, Organ, Singing and String aril Wind Instrument Studies in the School Music Course will be found under the headings "Pianoforte or Organ Parts I, II and III", "Singing Parts I, II and III", "String Instrument Parts II and III" and "Wind Instrument Parts I, II, and III In each Part of Chief and Second Practical Studies the student receives 45 min- utes' individual tuition per week in the Chief Study and 20 minutes' individual tuition per week in the Second Study. Degree course students in the Instrumental School whose Chief Praotical Study is a wind or string instrument must take Pianoforte as their Second Practical Study in Parts II and III. This applies also to Degree course students in the Vocal School. • See note on page 37. 38 Diploma course students whose Chief Practical Study is a wind or string instru- ment must take Pianoforte as their Second Practical Study in Parts I and II.. This applies also to Diploma course students in the Vocal School. CHIEF PRACTICAL STUDIES—EXAMINATIONS 961. Chief Practical Study I 901. Chief Practical Study II 908. Chief Practical Study III 914. Chief Practical Study IV 925. Chief Practical Study V 935. Chief Practical Study V (Concert) 936. Chief Practical Study V (Operatic) 964. Chief Practical -Study A In each Part the examination consists of a practical test. In Parts. I and II technical work will be required in addition to a programme of pieces or songs studied during the year.* In each Part the programme roust include work which the student has prepared unaided. For this purpose, in Parts I, II and III (2nd year B.Mus.), a work will be set by the Ormond Professor of Music one month before the date of the examination. In Chief Practical Study A, Part III (3rd Year Dip.Mus.), Part IV and Part V, at least one-third of the programme must be prepared by the student unaided and instrumentalists must include one complete major work in both Classical and Romantic styles. PART III (3rd YEAR DIP.MUS. DIVISION (b)—TEACHER) Candidates must submit a programme for the approval of the Ormond Professor of Music not later than the second week of the third term. PART IV (INSTRUMENTAL) AND CHIEF PRACTICAL, STUDY A (INSTRUMENTAL) 3rd Year Dip.Mus. Division (a) (Performer ` 3rd Year BMus. Division (a) (Performer Candidates must submit a representative concert programme for the approval of the Ormond Professor of Music not later than the second week of the third term. 4th Year BMus. Division (b) (Teacher) Candidates must submit a programme for the approval of the Ormond Professor of Music not later than the second week of the third term. PART IV (VOCAL) AND CHIEF PRACTICAL STUDY A ( VOCAL) 3rd Year Dip.Mus. Division (a) (Performer) 3rd Year BMus. Division . (a) (Performer) Candidates must submit for the approval of the Ormond Professor of Music not later than the second week of the third term a representative programme, including Opera or Oratorio. 4th Year B.Mus. Division (b) (Teacher) Candidates must submit a programme for the approval of the Ormond Professor of Music not later than the second week of the third term. PART V (INSTRUMENTAL) Candidates must submit a representative concert programme for the approval of the Ormond Professor of Music not later than the second week of the third term. In addition, candidates must perform a concerto. PART V (VOCAL) Candidates must submit for the approval of the Ormond Professor of Music not later than the second week of the third term, a representative programme, including Opera or Oratorio. SECOND PRACTICAL STUDIES—EXAMINATIONS 962. Second Practical Study, I 902. Second Practical Study II • Technical work will be required of students whose Chief Study is a string instrument in all examinations except Part V. 39 943. Second Practical Study II (Pianoforte) 909. Second Practical Study III 946. Second Practical Study III (Pianoforte) 915. Second Practical Study IV 949. Second Practical Study IV (Pianoforte) In each Part the examination consists of a practical test. Self-prepared work is not required. 960-1. CLASS SINGING PART 1 A course of one lecture per week throughout the year. SYLLABUS A study of song literature for class and choir use in schools. Vocal techniques. Keyboard facility, including transposition, harmonization of simple song melodies and vocal score reading. EXAMINATION (a) One three-hour paper. (b) A practical test and viva voce.

960-2. CLASS SINGING PART II A course of one lecture per week during first and second terms. SYLLABUS. A continuation of the work begun in Part I, with the addition of accompanying, conducting afd methods of teaching. EXAMINATION (a) One three-hour paper. (b) A practical test and viva voce.

942. COMPOSITION PART I A course of individual tuition 45 minutes per week throughout the year. SYLLABUS The setting of words for solo voice, and the writing of themes for instruments with and without simple pianoforte accompaniment. Part-songs and simple pianoforte pieces. EXAMINATION. One 3-hour paper.

945. COMPOSITION PART II A course of individual tuition 45 minutes per week throughout the year. SYLLABUS Variations for pianoforte, and for strings in two parts. Composition of pieces in Sonata form. Part-songs. EXAMINATION. One 3-hour paper.

948. COMPOSITION PART III A course of individual tuition 45 minutes per week throughout the year. SYLLABUS Continuation of variation writing, including String Quartet and further study of Sonata form. Introductory studies in vocal and instrumental styles of the twentieth century. Writing for small orchestra. BOOKS Recommended for reference: Carner, M., A Study of 20th Century Harmony, Vol. II. (Williams.) Searle, Н., Twentieth Century Counterpoint. (Williams and Norgate.) 40 EXAMINATION Degree students: Two 3-hour papers. Diploma students: One 3-hour paper, plus the submission of the following original compositions: (a) Either, a part-song for four voices unaccompanied, or a solo song with pianoforte accompaniment. (b) An instrumental piece in any form of the candidate's choice. 950. COMPOSITION PART IV A course of individual tuition 45 minutes per week throughout the year. SYLLABUS Further studies in vocal and instrumental styles of the twentieth century. EXAMINATION (a) Two original compositions, one for solo instrument or chamber music com- bination in sonata, rondo or variation form, and the other for orchestra or for choir and orchestra. (b) Viva voce on twentieth-century styles in composition.

899-1-2-3. CONCERT STUDY PARTS I, II and III A course of two hours' individual tuition per week. In Parts I and II the exam- ination will take the form of an hour's recital, and in Part III it will consist of a full evening recital. The public will be admitted to each of these performances. Instrumental recitals must be representative of the four main musical styles from the Baroque period to the present day. Works presented should be given in their entirety. In the case of vocalists the programme must include opera or oratorio, according to the quality of voice. Programmes must be submitted for the approval of the Ormond Professor of Music not later than the second week of the third term. In Parts II and III, at least one-third of the programme must be prepared by the student unaided. A complete concerto or vocal work must be performed with orchestra at a public performance in the second or third year of the course.

903. EAR TRAINING PART I A course of one lecture and one dictation class per week throughout the year. SYLLABUS Rhythmic, melodic, and harmonic dictation. Two-part dictation. Recognition of intervals, triads, and chords of the seventh in all positions. Recognition of cadences. Sight singing. Books Prescribed textbooks: Allchin, B., and Read, E., A Book of Aural Tests, Part I. (Assoc. Bd.) Leckie, A. J., Musical Perception. (Rev. ed., Allan's.) Pilling, D., Harmonization of Melodies at the Keyboard. Book I. (Forsyth Bros.) Whittaker, W. C., Folk Song Sight Singing Series, Books 1 to 8. (O.U.P.) EXAMINATION. A test in musical dictation and sight singing.

910. EAR TRAINING PART II A course of one lecture and one dictation class per week throughout the year. SYLLABUS A continuation of Ear Training Part I, including more advanced dictation and the recognition of chromatic chords. Sight singing. BOOKS Prescribed textbooks: As for Part T. EXAMINATION. A test in musical dictation and sight singing. 941. ELEMENTARY ACOUSTICS A course of eight lectures, with experimental illustrations, during second term. SYLLABUS The elements of acoustics and their application to musical scales and orchestral instruments. Woos Recommended for reference: Lowery, H., A Guide to Musical Acoustics. ( Dobson.) Richardson, Acoustics of Orchestral Instruments and of the Organ. (Arnold, 1929.) Jeans, Science and Music. ( O.U.P., 1937.) Culver, Musical Acoustics.; ( McGraw-Hill, 195G.) Wood, The Physics of Music. ( Methuen, 1945.) EXAMINATION. One 2-hour paper. 957. ENGLISH DICTION (SCHOOL MUSIC COURSE ) A course of one lecture per week throughout the year. SYLLABUS Vowels and consonants and their classification, pronunciation, accent and em- phasis. Exercises for perfecting enunciation, illustration and treatment of faults in articulation. 963. HARMONY AND COUNTERPOINT PART I A course of one lecture per week throughout the year. SYLLABUS Triads and their inversions; unessential notes, chords of the dominant 7th and 9th, secondary sevenths. Harmonization of melodies and basses in two, three, and four parts for voices. Elementary modulation. Melodic invention and phrase building. Free Counterpoint in two parts. воок5 (a) Prescribed textbooks: Morris, R. 0., Foundations of Practical Harmony and Counterpoint. (Macmillan.) Steele, J. A., Harmony for Students. ( New ed., Allan's.) Steele, J. A., Free Counterpoint in Two Parts. (Allan's.) (b ) Recommended for reference: Leckie, A. J., Melodies and Their Treatment. (Allan's.) EXAMINATION. One 3-hour paper. 904. HARMONY AND COUNTERPOINT PART II A course of two lectures per week throughout the year. SYLLABUS Diatonic harmony and the following chromatic chords: Supertonic, Neapolitan Sixth, Subdominant Minor in Major keys, Augmented Sixth. Harmonization of chorale melodies and basses in the style of J. S. Bach. Writing for keyboard in the style of the later eighteenth century. Contrapuntal writing in two parts. Two part inventions in the style of J. S. Bach. BOOKS As for Part I, together with: (a) Prescribed textbooks: Bach, J. S., Harmonized Chorales. (Breitkopf and Hartel, Kahnus or Peter's.) Morris, R. O., Introduction to Counterpoint. (O.U.P.) Steele, J. A., Advanced Harmony. (Allan's. ) (b) Recommended for reference: Piston, W., Harmony. (Norton.) EXAMINATION One 3-hour paper in Harmony. One 231rhour paper in Counterpoint. 42 911. HARMONY AND COUNTERPOINT PART III A course of two lectures per week throughout the year. SYLLABUS General knowledge of all chords. More advanced modulation. Writing of piano- forte accompaniments to songs and to melodies for string and woodwind instruments. Harmonization for String Quartet of excerpts from the work of later eighteenth and nineteenth century composers. Counterpoint in three parts. Answering fugue subjects and the writing of counter-subjects in invertible counterpoint. Keyboard harmony. BOOKS (a) Prescribed textbooks: Andrews, H. K., The Oxford Harmony, Vol. II. (O.U.P., 1950.) Oídroyd, G., The Technique and Spirit of Fugue. ( 0.U.P., 1948.). (b) Recommended for reference: Piston, W., Counterpoint. ( Norton, 1947. ) EXAMINATION One 3-hour paper in Harmony. One 3-hour paper in Counterpoint. 916. HARMONY AND COUNTERPOINT PART IV A course of one lecture per week throughout the year. SYLLABUS Setting of words as a song with pianoforte accompaniment and in part-song style up to four parts, including Madrigal style. Two part Fugue, including the style of the Gigues to be found in the Suites and Partitas of J. S. Bach. EXAMINATION. Two 2-hour papers. 900-1. HISTORY OF MUSIC PART I This course is divided into (a) Form and (b) History of Music, comprising two lectures per week throughout the year. SYLLABUS (a) Form. Folk-song and the principal forms from the sixteenth century to the Romantic Period, including the following: Mass, Motet, Madrigal, the forms used by J. S. Bach and his contemporaries, Sonata, Quartet, Symphony, Symphonic Poem, Variations. BOOKS Prescribed textbook: Thorpe Davie, C., Musical Structure and Design. ( Dobson, 1953.) EXAMINATION. One 3-hour paper. (b) History of Music. A general review of musical history from early times to 1770. ESSAYS Students are required to submit essays. Details will be supplied at the beginning of first term. ВООКS Prescribed textbook: Lovelock, W., A Concise History of Music. (Bell, 1953,) Recommended for reference: Einstein,. A., A Short History of Music. (Cassell, 1953.) EXAMINATION. One 3-hour paper. 43 900-2. HISTORY OF MUSIC PART II A course of one lecture pe: week throughout the year. SYLLABUS The history of music from 1770 to the present day. ESSAYS Students are required to submit essays. Details will be supplied at the beginning of first term. EXAMINATION int 3-hour paper. 944. INSTRUMENTAL CLASS (STRINGS) PART I A practical class of one hour per week throughout the year. EXAMINATION A practical test. 947. INSTRUMENTAL CLASS (STRINGS) PART II A practical class of one hour per week throughout the year in continuation of Instrumental Class (Strings) Part I. EXAMINATION A practical test. 924. METHODS OF TEACHING SYLLABUS A course of lectures in elementary psychology and the application of psycho- logical principles to methods of teaching, with special reference to the teaching of music. The course of study will cover the nature of educational psychology, the prin- ciples of growth and development, the problems of individual differences, the develop- ment of habits, the development of muscular skills, learning and remembering, the teaching of appreciation and the development of taste, the preparation of lessons, and the prediction of musical achievement. EXAMINATION. One 2-hour paper. 967. MODERN LANGUAGES PART I Courses of lectures throughout the year. ENGLISH DICTION PART I SYLLABUS The different classes of vowels and their pronunciation. Exercises for perfecting distinct enunciation, illustration and treatment of faults in articulation. EXAMINATION One 2-hour paper, or, with the approval of the lecturer, prescribed essays during the year, together with a practical examination based on the following: 1. Lecturer's observation throughout the year of students' conversational speech 2. Poem and Prose (modern) of about 200 words each—to be memorized. 3. Sight reading—English prose of moderate difficulty. ITALIAN (MUSIC COURSE) PART I SYLLABUS Study of Italian Aria. Dictation. Pronunciation. Enunciation. Grammar: articles, pronouns, nouns, adjectives, numerals, verbs (indicative only). BOOK Prescribed textbook: Russo, Practical Italian Grammar. (Heath.) EXAMINATION. One 2-hour paper, together with an oral test. 44 931. MODERN LANGUAGES PART II Courses of lectures throughout the year. ENGLISH DICTION PART II SYLLABUS Consonant and vowel sounds and their classification, pronunciation, accent and emphasis. EXAMINATION One 2-hour paper, or, with the approval of the lecturer, prescribed essays during the year, together with practical examination based on the following: 1. Lecturer's observation throughout the year of students' conversational speech. 2. Two poems ( Elizabethan and Victorian periods) and modern prose—about 200 words each—to be memorized. 3. Sight reading—English prose and poetry. 4. Short prepared speech. ITALIAN (MUSIC COURSE) PART II SYLLABUS As for Part I. Grammar: Irregular nouns, irregular verbs, more pronouns; con- ditional tense, degrees of comparison. BOOK. As for Part I. EXAMINATION. One 2-hour paper, together with an oral test. and either FRENCH (MUSIC COURSE) PART I SYLLABUS. Vocal works in French. Dictation. Pronunciation. Enunciation. BOOK Prescribed textbook: Kirby and Bradshaw, First French Grammar. (Macmillan.) EXAMINATION. One 2-hour paper, together with an oral test. or GERMAN (MUSIC COURSE) PART I SYLLABUS. Vocal works in German. Dictation. Pronunciation. Enunciation. BOOK Prescribed textbook: Oswald, A Complete German Grammar. (Gibson, Glasgow.) EXAMINATION. One 2-hour paper, together with an oral test. 932. MODERN LANGUAGES PART III Courses of lectures throughout the year._ ENGLISH DICTION PART III SYLLABUS Reading of difficult passages of prose and verse. Vowels and consonants and their dtшculties in enunciation. EXAMINATION One 2-hour paper, or, with the approval of the lecturer, prescribed essays during the year, together with a practical examination based on the following: 1. Lecturer's observation throughout the year of students' conversational speech. 2. Two poems (Modern and Augustan periods), one speech from Shakespeare and a piece of Modern prose—each of about 200 words—to be memorized. 3. Sight reading—difficult prose and poetry. 4. Short prepared speech on a literary subject. ITALIAN (MUSIC COURSE) PART III SYLLABUS. As for Part II. Crammar—( see book), Lessons I-XVI. 45 Boos Prescribed textbook: Cioffari, Italian Review Grammar. (Heath.) EXAMINATION. One 2-hour paper, together with an oral test. and either FRENCH (MUSIC COURSE) PART II (For candidates who have completed Part I) SYLLABUS. More advanced studies than in Part I. BOОKS (a) Prescribed textbook: Horsley and Bonne, Rapid French Practice. (Rivingtons.) (b) Reference will also be made to: Murphy, French Proses for Early Stages. (Hanap.) EXAMINATION. One 2-hour paper, together with an oral test. or GERMAN (MUSIC COURSE) PART II (For candidates who have completed Part I) SYLLABUS. More advanced studies than in Part I. BOOKS As for Part I, and in addition: Southwell, K. A., Das Oxf order Lesebuch I. Aus der Heimat. (O.U.P., 1953.) EXAMINATION. One 2-hour paper, together with an oral test.

934. MODERN LANGUAGES PART IV Courses of lectures throughout the year. ITALIAN (MUSIC COURSE) PART IV SYLLABUS. Grammar only. Lessons XVII-XXVII. BOOK. Al for Part III. EXAMINATION. One 2-hour paper, together with an oral test. and either FRENCH (MUSIC COURSE) PART III (For candidates who have completed Parts I and II) SYLLABUS. More advanced studies than in Parts I and I. BOOKS Prescribed textbooks: Saxelby, En Marche. (Ginn.) Saxelby, En France. (Ginn.) EXAMINATION. One 2-hour paper, together with an oral test. and GERMAN (MUSIC COURSE) PART I or GERMAN (MUSIC COURSE) PART III (For candidates who have completed Parts I and II) SYLLABUS. More advanced studies than in Parts I and II. BOOKS. As for Part II. EXAMINATION. One 2-hour paper, together with an oral test. and FRENCH (MUSIC COURSE) PART I 48 940. MODERN LANGUAGES PART V Courses of lectures throughout the year. FRENCH (MUSIC COURSE) PART IV (For candidates who have completed Parts I, II and III) SYLLABUS Composition. Translation from French to English. Dictation. Enunciation. Pro- nunciation. BOOKS. As for Part III. EXAMINATION. One 3-hour paper, together with an oral test. and GERMAN (MUSIC COURSE) PART II or GERMAN (MUSIC COURSE) PART IV (For candidates who have completed Parts I, II and III) SYLLABUS Composition. Translation from German into English. Dictation. Enunciation. Pronunciation, BOOK. As for Part III. EXAMINATION. One 3-hour paper, together with an oral test. and FRENCH (MUSIC COURSE) PART II

905. MUSIC A , This course is divided into (a) Form and (b) History of Music, comprising two lectures per week throughout the year. SYLLABUS (a) Form. Folk-song and the principal forms from-the sixteenth century to the Romantic Period, including the following: Mass, Motet, Madrigal, the Forms used by J. S. Bach and his contemporaries, Sonata, Quartet, Symphony, Symphonic Poem, Variations. EXAMINATION. One 3-hour paper. (b) History of Music. The social history of European music from 1600 to 1770 and the study of works by representative composers from Monteverdi to early Haydn and Mozart. ESSAYS Students are required to submit essays. Details will be supplied at the beginning of first term. BOOKS Prescribed textbooks: Abraham G., History of Music in Sound, Vols. IV, V and VI. (O.U.P., 1953-4.) Bukofzer, M., Music in the Baroque Era. ( Dent, 1948. ) Harman, A., Late Renaissance and Baroque Music. ( Man and his Music, Vol. II.) . (Rockliff, 1959.) Lang, P. H., Music in Western Civilization. ( Norton, 1941.) Idlers, W., The Sonata Principle. (Man and his Music, Vol. III.) (Rockli$, 1957.) Morais, R. O., The Structure of Music. (O.U.P., 1935.) Thorpe Davie, C., Musical Structure and Design. (Dobson, 1953.) ' (b) Recommended for reference: Apel, W., The Harvard Dictionary of Music. (Routledge and Kegan Paul.) Bairstow, E. C., The Evolution of Musical Form. (O.U.P., 1943.) 47 Blom, E., Mozart. (Dent, 1935.) Dart, T,. The Interpretation of Music. (Hutchinson, 1954.) Dent, E. J., Opera. (Penguin.) Einstein, A., Mozart. (Cassell, 1946.) Geiringer, K., Haydn. (Allen and Unwin, 1947.) O'Brien, G., The Golden Age of Italian Music. (Jarrolds, 1948.) O'Brien, G., The Golden Age of German Music. (Jarrolds, 1953.) Schweitzer, A., J. S. Bach, 2 vols. (Black, 1935.) Terry, C. S., Bach, A Biography. (O.U.P., 1928.) Terry, C. S., The Music of Bach. (O.U.P., 1933.) Terry, C. S., Bach's Orchestra. (O.U.P., 1932.) EXAMINATION. One 3-hour paper.

912. МUSIC В . A course of two lectures per week throughout the year. SYLLABUS (a) The history of European music from 1770 to 1900, with special reference to the literary background of the Romantic Era. (b) The study of works by representative composers from Haydn to Richard Strauss. ESSAYS Students are required to submit essays. Details will be supplied at the beginning of first term. Books (a) Prescribed textbooks: Einstein, A., Music in the Romantic Era. ( Dent, 1947.) Lang, P. H., Music in Western Civilization. (Norton, 1941.) ellers, W., The Sonata Principle. (Man and his Music, Vol. III.) (Rockliff, М 1957.) ellers, W., Romanticism and the Twentieth , Century. ( Man and his Music, М Vol. IV.) (Rockliff, 1957.) Sullivan, J. W. N., Beethoven. (Fontana.) (b) Recommended for reference: Abraham, G., A Hundred Years of Music. ( Duckworth, 1949.) Abraham, G., Tschaikowsky. ( Lindsay Drummond, 1945.) Apel, W., The Harvard Dictionary of Music. (Routledge and Ke an Paul.) Calvocoressi, M. D., and Abraham, G., Masters of Russian Music. (Tudor, 1944.) Carse, A., The Orchestra from Beethoven to Berlioz. (Неffет, 1948.) Ceiringer, K., Brahms. (Allen and Unwin, 1948.) Newman, E., Wagner as Man and Artist. (Bodley Head, 1925.) Newman, E., Opera Nights. (Putman, 1943.) Newman, E., More Opera Nights. (Putman, 1954.) Reti, R., The Thematic Process in Music. (Macmillan, 1951.) Robertson, A., Dvorak. (Dent, 1945.) Searle, H., Liszt. (Williams and Norgate, 1954.) EXAMINATION. Two 3-hour papers.

917. MUSIC C A course of two lectures per week throughout the year. sYLLАВUS (a) European music from earliest times to A.D. 1600. (b) Post-Romantic music to the present day. ESSAYS Students are required to submit essays. Details will be supplied at the beginning of first term. 48 Books (a) Prescribed textbooks: Abraham, G» The History of Music in Sound, Vols. II, III and IV. (0.U.P., 1953.) Dyson, G., The New Music. ( O.U.P., 1943. ) Harman, A., Medieval and Renaissance Music. ( Man and his Music, Vol. L) (Rockliff, 1958.) Hartog, H., European Music in the 20th Century. (Routledge and Kegan Paul, 1957.) Lang, P., Music in Western Civilization. (Norton, 1941.) (b) Recommended for reference: Abraham, G., A Hundred Years of Music. ( Duckworth, 1949.) Abraham, G» Eight Soviet Composers. ( O.U.P., 1943. ) Apel, W., The Harvard Dictionary of Music. (Routledge and Kegan Paul.) . Bacharach, A. L., British Music of Our Time. ( Penguin, 1951.) Bukofzer, M., Studies in Medieval and Renaissance Music. (Dent, 1951.) Cooper, M., French Music. (O.U.P., 1951.) Copland, A., Our New Music. (Whittlesey House, 1941.) Dart, T., The Interpretation of Music. (Hutchinson. ) Ewen, D., The Book of Modern Composers. ( Knopf, 1950.) Foss, H. J., Vaughan Williams. ( Hanap, 1940. ) Hindemith, P., A Composer's World. ( Harvard University Press, 1952.) Hughes, Dom. A. (ed. ), The New Oxford History of Music, Vol. II. Lambert, C., Music Ho! ( Faber and Faber, 1937.) Lockspeiser, E., Debussy. (Dent, 1951.) Мeilers, W., Music and Society. ( Dobson, 1946.) Mellers, W., Studies in Contemporary Music. ( Dobson, 1947.) Mellers, W., Romanticism and the Twentieth Century. (Man and his Music, Vol. IV.) (Rockliff, 1957). Moyeux, S., Bartok. (Harvill, 1953.) Myers, R., Music in the Modern World. (Arnold, 1948.) Reese, G., Music in the Middle Ages. (Norton, 1940.) Sachs, C., The Rise of Music in the Ancient World. (Norton, 1943.) Salazar, A., Music in Our Time. (Bodley Head, 1948.) Strunk, 0., Source Readings in Music History. (Faber, 1952.) Trend, J. В., Manuel de Falla and Spanish Music. (Knopf, 1934.) Wellesz, E. (ed.), The New Oxford History of Music, Vol. I, 1956. EXAMINATION. Two 3-hour papers. 951. MUSIC D A course old guided reading throughout the year based on the study of prescribed contemporary works. EXAMINATION. One 3-hour paper.

938. MUSIC AND MOVEMENT A practical class throughout the year. SYLLABUS Technique of movement; exercises for relaxation, control, quick reaction, dissocia- don, and for co-ordination of the mind and body. To experience through movement the following fundamental musical subjects: Pulse, Accent (Pathetic and Metric), Rhythm, Nuance, Phrasing, Polyrhythm, Aug- mentation and Diminution, Anacrusis, Rhythmic Counterpoint, Syncopation. Studies in Canon, Binary and Ternary Form. Realization of suitable abstract music showing Rhythm, Phrasing and Nuance. Group movement and design. EXAMINATION. A practical test.

921-1. MUSIC LITERATURE PART I A course of one fortnightly lecture throughout the year. 49 SYLLABUS. The study of selected works from the repertory of the candidat's chief study. EXAMINATION (a) A practical test. (b) Viva voce on the works studied during the year with special reference to form and the style of the composers.

921-2. MUSIC LITERATURE PART II A course of one fortnightly lecture throughout the year. SYLLABUS A continuation of the study commenced in Part I. EXAMINATION. (a) and (b) as for Part I. 927-1. MUSIC LITERATURE PART I (CONCERT DIPLOMA) A course of one fortnightly lecture throughout the year. SYLLABUS (a) In first term: A study of style and period and of formal and harmonic analysis of selected works; (b) In second and third terms: A study of interpretation, technique and criticism as applied to the selected works. This study will take the form of a "workshop" under the supervision of different lecturers. EXAMINATION Pr- Zeal and viva voce tests. 927-2. MUSIC LITERATURE PART II (CONCERT DIPLOMA) A course of one lecture per week throughout the year. SYLLABUS As in part I. EXAMINATION Practical and viva voce tests.

919. ORCHESTRATION PART I A course of one lecture per week in first and second terms. SYLLABUS The nature and compass of the instruments of the classical orchestra. Arranging for orchestra including reference to scoring for school orchestras and unusual com- binations. BOOKS (a) Prescribed textbook: Jacob, G., Orchestral Technique. (0.U.P., 1940.) (b) Recommended for reference: Piston, W., Orchestration. (Norton, 1955.) EXAMINATION. One 3-hour paper at the end of second term. 926. ORCHESTRATION PART II А course of one lecture per week in first and second terms. SYLLABUS Scoring for full orchestra. The orchestration of song accompaniments. BOOKS. As for Part I. EXAMINATION. One 3-hour paper at the end of second term. 50 952. PIANOFORTE OR ORGAN PART I 954. PART II 958. PART III These details refer to the School of School Music ( Degree Course). A course of individual tuition throughout the year for 45 minutes weekly when taken as the principal practical study, or for 20 minutes weekly when taken as the second practical study. PRINCIPAL PRACTICAL STUDY—EXAMINATIONS In each Part the examination consists of a practical test. In Part II technical work will be required in addition to a programme of pieces studied during the year. In each Part the programme must include work which the student has prepared unaided. For this purpose, in Part II, a work will be set by the Ormond Professor of Music one month before the date of the examination. In Part III students must submit for the approval of the Ormond Professor of Music, not later than the second week of the third term, a programme at least one- third of which must be prepared unaided. SECOND PRACTICAL STUDY—EXAMINATIONS In each Part the examination consists of a Practical test. Self-prepared work Is not required. 906. SIGHT READING PART I For all students in their Chief Practical Studies, and for students in the School of School Music in respect of their Second Practical Studies when Pianoforte. There will be no special lectures in this subject. EXAMINATION (a) Pianoforte. Candidates will be expected to read at sight pieces of a standard of difficulty equivalent to A.M.E.B. Third Grade. (b) Other Instruments and Singing. A practical test of a moderate standard of difficulty:, 913. SIGHT READING PART II For all students in their Chief Practical Studies, and for students in the School of School Music in respect of their Second Practical Studies when Pianoforte. There will be no special lectures in this subject. EXAMINATION ( а ) Pianoforte. Candidates will be expected to read at sight pieces of a more difficult standard than for Part I. (tj) Other Instruments and Singing. A more difficult practical test 918. SIGHT READING PART III For students whose Chief Study is a String or Wind instrument. There will be no special lectures in this subject. EXAMINATION An advanced practical test 955. SINGING PART I 953. PART II 959. PART III These details refer to the School of School Music (Degree Course). A course of individual tuition throughout the year for 45 minutes weekly when taken as the principal practical study, or for 20 minutes weekly when taken as the second practical study. 51 PRINCIPAL PRACTICAL STUDY—EXAMINATIONS In each Part the examination consists of a practical test. In Part II technical work will be required in addition to a programme of songs studied during the year. In each Part the programme must include work which the student has prepared unaided. For this purpose, in Part II, a work will be set by the Ormond Professor of Music one month before the date of the examination. In Part III students must submit for the approval of the Ormond Professor of Music, not later than the second week of the third term, a programme at least one- third of which must be prepared unaided. SECOND PRACTICAL STUDY—EXAMINATIONS In each Part the examination consists of a practical test. Self-prepared work is not required. 928. SPECIAL STUDY A course of guided study throughout the year in either (a) A musical subject selected by the student for specialized study. (b) Aesthetics or any subject of the Arts course. The subject proposed must be submitted for the approval of the Ormond Professor of Music at the beginning of first term. EXAMINATION The examination of subjects under (a) will be by the submission at the end of third term of a short thesis.

939. STAGE-CRAFT A course of one lecture per week throughout the year. sYLLAВUS Mime and movement, including deportment. History of operatic costume and décor since 1600. Study of selected excerpts from opera with movement and gesture. The use of make-up. EXAMINATION. A practical test.

944-2. STRING INSTRUMENT PART II 944-3. STRING INSTRUMENT PART III These details refer to the School of School Music ( Degree Course) . A course of individual tuition throughout the year for 45 minutes weekly. EXAMINATIONS In each Part the examination consists of a practical test. In each Part technical work will be required in addition to a programme of pieces studied during the year. In each Part the programme must include work which the student has prepared unaided. For this purpose, in Part II a work will be set by the Ormond Professor of Music one month before the date of the examination. In Part III students must submit for the approval of the Ormond Professor of Music, not later than the second week of the third term, a programme at least one- third of which must be prepared unaided.

933. VOCAL LITERATURE PART I For students in the Vocal School. . SYLLABUS Selected songs learnt in Chief Study lessons during the year, including opera or oratorio, according to the student's vocal quality. 52 EXAMINATION (a) ' A practical test. (b) Viva voce on the songs presented. 937. VOCAL LITERATURE PART II For students in the Vocal School. SYLLABUS. A continuation of Vocal Literature Part L EXAMINATION. As for Part L 956-1. WIND ' INSTRUMENT PART I 956-2. WIND INSTRUMENT PART II 956-3. WIND INSTRUMENT PART III These details refer to the School of School Music ( Degree Course). A Course of individual tuition throughout the year for 45 minutes weekly when taken as the principal practical study, or for 20 minutes weekly when taken as the second practical study. EXAMINATIONS—Principal Practical Study • In each Part the examination consists of a practical test. In Part II technical work will be required in addition to a programme of pieces studied during the year. In each Part the programme must include work which the student has prepared unaided. For this purpose, in Part II, a work will be set by the Ormond Professor of Music one month before the date of the examination. In Part III students must submit for the approval of the Ormond Professor of Music, not later than the second week of the third term, a programme at least one- third of which must be prepared unaided. EXAMINATIONS—Second Practical Study In each Part the examination consists of a practical test. Self-prepared work is not required.

53

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Author/s: The University of Melbourne

Title: Handbook: Faculty of Music 1966

Date: 1966

Persistent Link: http://hdl.handle.net/11343/128705