Bachelor of Applied Music – Audio Production

This is the first in a sequence of six music theory subjects. Through the study of diatonic harmony, students will acquire a strong foundation in the elements of music upon which later music developed. By undertaking harmony exercises and harmonic analyses of excerpts from seminal diatonic compositions, students will acquire an understanding of the interrelationship of melody, harmony, dissonance, consonance, rhythm, motives and their development in the formation of musical forms. The evolution and influence of diatonic music of the past on the development of contemporary popular music, most notably on the development of popular vocal music, will be explicitly described in lectures and tutorials. The theoretical and aesthetic principles presented in lectures will be aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of four-part diatonic harmony and voice leading. Students will complete harmony exercises in vocal and keyboard styles. Students will present their harmony exercises in a music notation program; and they will realise their exercises by singing, playing or using MIDI, which will reinforce their aural training and encourage development of their 'mind's ear'.

Contact hours are 1 hour lecture, 1 hour tutorial for 12 weeks.
Prerequisites: None
Assessment: Quiz: online 10%
Analysis and Harmony Assignment 30%
Written Exam (Closed Book) 60 mins 60%

Keyboard Skills is designed to give students essential keyboard skills, with the expectation that many will begin at an introductory level. Students will be assessed in orientation week to ensure placement in the correct section of the class, with more advanced students having the option to test out of the subject. Students will perform a variety of completed notated pieces, as well as develop an understanding of voicings appropriate to jazz and contemporary music styles.

Contact hours are 2 hour practical each week for 12 weeks.
Prerequisites: None
Assessment: Assessments
1. Performance of realised chord progression 20%
2. In class assignments 40%
3. Final exam: performance of set pieces 40%

Aural 1 is the first in the sequence of four subjects developing students' aural and music notation skills. They will learn to aurally recognise and sing melodic and harmonic intervals within an octave, major, minor and pentatonic scales and diatonic chords. Students will perform prepared melodies, sight-sing and transcribe simple diatonic melodies. Rhythmic work will include performing prepared progressions, sight-reading and transcribing rhythmic examples in 2-4, 3-4 and 4-4. Students will also learn to sing, aurally recognise and notate diatonic triads and inversions as well as various cadences. Aural training software will be incorporated into this subject in a self-guided learning module.

Contact hours are 2 hour practical for 12 weeks.
Prerequisites: None
Assessment: Assessment 1: Singing video - 10 minutes 15%
Assessment 2: Viva Voce test 1 - 10 minutes 20%
Assessment 3: Written Test of aural skills - 55 minutes 30%
Assessment 4: Viva Voce test 2- 10 minutes 25%
Assessment 5: Participation and preparation of group singing in class 10%

Aural 2 is the second in the sequence of four subjects in which students will further develop their aural skills, including notating, aurally recognising and singing intervals, scales, diatonic chords, chord inversions and progressions. Students will perform prepared melodies, sight-sing and transcribe diatonic melodies in simple and compound metres, some of which will be borrowed from the Baroque and Classical repertoire. Rhythmic work will include performing prepared progressions, sight-reading and transcribing rhythmic examples in simple and compound meters. Students will develop more extensive transcription abilities, consolidate their knowledge of harmonic practice, and acquire more comprehensive vocabulary for use in musical analysis. Aural training software will be incorporated into this subject in a self-guided learning module.

Contact hours are 2 hour practical for 12 weeks.
Prerequisites: MUT107 AURAL 1
Assessment: Assessment: Assessment 1:Viva Voce test 4 - 10 minutes 25%
Assessment 2:Viva Voce test 4 - 10 minutes 25%
Assessment 3:Written Test of aural skills - 55 minutes 50%

This is the second in a sequence of six music theory subjects. Through the study of diatonic harmony, students will acquire a strong foundation in the elements of music upon which later music developed. This second semester advances student knowledge on the introductory concepts presented in the first semester and introduces new material including modes, scales and structures applicable to contemporary music, seventh chords, secondary dominant chords and relevant part writing for contemporary music. Additionally, harmonic considerations and formal structure of American popular song standards and the various genres found in pop and rock music from the later part of the twentieth century will be investigated.

Contact hours are 1 hour lecture, 1 hour tutorial for 12 weeks.
Prerequisites: MUT103 THEORY 1: VOICE LEADING
Assessment: Harmony Exercises and worksheets (equivalent of 500 words) 20%
Analysis and Harmony Assignment (equivalent of 1000 words) 40%
Written Exam - one hour 40%

History and Analysis 1 is the first in the sequence of three history subjects. Students will acquire theoretical knowledge of the development of jazz and popular music of the twentieth century, and analyse selected composers' works in depth. Particular attention will be paid to outlining the connections between the development of music and other arts as wells as socio-economic, cultural and technological changes happening in contemporary society. Students will analyse musical works of prominent composers from the artistic, cultural and technical perspectives. In this subject students will be introduced to investigation of music, and review of musicological writings, and use this knowledge to inform their musical experiences.

Contact hours are 1 hour lecture (online), 1 hour tutorial (online) for 12 weeks.
Prerequisites: None
Assessment: Analysis Essay (1200 words) 50%
On-line quizzes (Closed Book) 50%

Studio Techniques 1 is the first of six units designed to develop advanced techniques in audio production specifically for studio purposes. This subject develops introductory recording principles and current DAW (digital audio workstation) protocols. Students develop a thorough knowledge of the fundamentals of audio theory. Students also develop the skills to analyse and evaluate these elements in a practical, supervised studio environment.

Contact are 2 hours studio, 1 hour production lecture, 2 hours lab each week for 12 weeks.

Prerequisites: Nil
Assessment: Assessment 1: Editing and mixing tasks & Pro Tools 101 30%
Assessment 2: Studio Recording Tasks 40%
Assessment 3: Audio Theory Exam 30%

Music production 1 introduces students to essential computer music knowledge. Students learn introductory music theory concepts including chords, progressions and scales. This knowledge is applied to skills and techniques being learned on digital audio workstations. This subject also explores the development of electronic and electroacoustic music, including principal practitioners, production, technologies, and influences. Students learn a variety of philosophies and genres within electroacoustic music. They learn to recognise different artists and their works. Topics include, MIDI theory, digital audio work station set up, drum programming, instrument design, using insert effects, sampling, Musique Concrete, Elektronische Musik and synthesis. Assessments include musical projects, presentations and exams.

Contact hours are 2 hour sequencing class, 2 hour electronic production lecture each week for 12 weeks.

Prerequisites: Nil
Assessment:
Assessment 1: Individual class presentations 20%
Assessment 2: Music Production assessment 30%
Assessment 3: Music Theory Test 20%
Assessment 4: Listening and Written exam 30%

Studio Techniques 2 is the second of six units designed to develop advanced techniques in audio production specifically for studio production. The focus of this subject is to have students complete an entire multi-track recording incorporating some post production techniques and create a digital stereo mix. Students continue to develop skills in a studio environment, and develop the ability to plan and manage studio recordings with live musicians. Students will increase their knowledge of audio theory.

Contact hours are 2 hours studio, 1 hour production lecture,
2 hours lab each week for 12 weeks.

Prerequisites: BSP111 Studio Techniques 1
Assessment: Assessment 1: Polar Pattern Recording task 10%
Assessment 2: Multi-track recording task 20%
Assessment 3: Mixing tasks 30%
Assessment 4: Pro Tools 110 exam 10%
Assessment 5: Audio Theory Exam 30%

Music Production 2 extends the knowledge of diatonic theory incorporating arrangement and counterpoint techniques. Students are introduced to the principles of MIDI orchestration, and applied synthesis. Students demonstrate an ability to integrate orchestration and synthesis techniques by composing music using appropriate DAW software. In practical exercises students write, arrange and sequence string parts, create sampler instruments and customize synthesizer presets. This subject also explores the development of digital electronic music, including principal practitioners, production, technologies, and influences. Students learn to recognise different artists and their works. Computers, Digital Signal Processing, algorithmic composition, synthesis methods, and mass consumer electronic music devices are examined to reveal their impact on the development of electronic music.

Contact hours are 2 hour sequencing class and 2 hour electronic production lecture each week for 12 weeks.

Prerequisites: BSP113 - Music Production 1
Assessment: Assessment 1: Series of Orchestration tasks in Ableton 25%
Assessment 2: Complete a series of sampling and synthesis tasks 25%
Assessment 3: Create an 8-bit song 20%
Assessment 4: Listening and Written exam 30%

Aural 4 is the final in the sequence of four aural skills and development subjects. Students will apply this knowledge through completion of aural analysis tasks designed to help students internalise musical elements comprising various world music styles. Students will develop more extensive transcription abilities, consolidate their knowledge of harmony, and acquire more comprehensive vocabulary for use in musical analysis. Students will learn a dozen short excerpts from World Musical and learn to identify and sing a dozen microtonal scales from World Musical Cultures. Students will acquire aural and theoretical skills that extend beyond the conventions and imperatives of diatonic music of previous centuries to embrace non-Western and post-tonal music, the use of modes and polytonality, contemporary harmonic devices, and the use of polyrhythm and mixed metre. Through the study of world music and recent trends, students will expand their appreciation of the diversity of aesthetic expression. The connections between previously learned styles of music and modern music practices will be emphasised and used to further contextualise the study of harmony and fundamental aural perception. Students will further develop their aural skills, including notating, aurally recognising and performing rhythmic progressions, intervals, scales, chords, chord modifications and inversions and chord progressions. Particular attention will be paid to developing students' confidence and independence in transcribing and performing melodies, rhythms and chord progressions. Students will further explore complex rhythms in compound and odd meters.

Contact hours are 2 hour practical for 12 weeks.
Prerequisites: MUT207 AURAL 3
Assessment: 2 Viva Voces 30% + 30%
1 Written Test 40%

This is the third in a sequence of six music theory subjects. Delivered as a one-hour lecture and a one-hour tutorial, conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures are aurally reinforced in practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of jazz harmony, jazz voice leading and musical form. The evolution and influence of diatonic and chromatic music of the past on the development of contemporary jazz will be explicitly described in lectures and tutorials.

Contact hours are 2 hours (lecture/tutorial) for 12 weeks.
Prerequisites: MUT104 THEORY 2: DIATONICISM
Assessment: Assessment: Analysis and Harmony Assignment 40%
Written Exam (Closed Book) - 90min 60%

Aural 3 is the third subject in the four subject aural skills sequence. Students will apply their knowledge in practice through completion of aural analysis tasks designed to help students internalise musical elements comprising those musical styles. Students will develop more extensive transcription abilities, consolidate their knowledge of harmonic practice, and acquire more comprehensive vocabulary for use in musical analysis. Students will further develop their aural skills, including notating, aurally recognising and performing rhythmic progressions, intervals, scales, chords, chord modifications and inversions and chord progressions. Particular attention will be paid to developing students' confidence and independence in transcribing and performing melodies, rhythms and chord progressions specifically derived from the Romantic and Impressionistic music repertoire. Students will further explore diatonic and non-diatonic melodies, complex rhythms in compound and odd meters, chromaticism and non-triadic chord structures. Various group and individual in-class activities and out-of-class exercises using aural training software will develop the skills required for students to complete full transcriptions of musical works.

Contact hours are 2 hours practical for 12 weeks.
Prerequisites: MUT108 AURAL 2
Assessment: Viva Voce exam 1 (5 min) 30%
Viva Voce exam 2 (5 min) 30%
Written aural exam (50 min) 40%

History and Analysis 2 is the second in the sequence of three history and analysis subjects. Students will acquire theoretical knowledge of a portion of the history of Western Music, from the middle ages to Romanticism. Particular attention will be paid to outlining the connections between the development of music and other arts as wells as socio-economic, cultural and technological changes in society. Students will analyse musical works of prominent composers from artistic, cultural and technical perspectives. Connections between previously learned styles of music and modern music practices will be emphasised and used to further contextualise the study of harmony and fundamental aural perception. In this subject, students will further develop their ability to investigate music, and review musicological writings, and use this knowledge to inform their musical experiences.

Contact hours are 1 hour lecture, 1 hour tutorial for 12 weeks.
Prerequisites: MUT105 HISTORY 1
Assessment: Analysis essay (1000 words) 40%
Listening review (500 words) 30%
Written and listening exam (60 mins) 30%

This is the fourth in a sequence of six music theory subjects. Delivered as a one-hour lecture and a one-hour tutorial, conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures are aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of arranging for various ensembles. This subject focuses on the practical applications of the voice leading techniques and harmonic practices studied in Theory 1, Theory 2 and Theory 3. Students will analyse, compose and arrange jazz harmony exercises for ensembles in two to five parts. Students will present their arrangements in a music notation program; and they will realise their exercises/compositions by singing, playing and/or using MIDI, which will reinforce their aural training and encourage development of their 'mind's ear'
.
Contact hours are 2 hours (lecture/tutorial) for 12 weeks.
Prerequisites: MUT203 THEORY 3: JAZZ HARMONY
Assessment: Assessment: Arranging Assignment - 1 (equivalent to 750 words) 50%
- Witten Exam (closed book) (equivalent to 1000 words) 50%

History and Analysis 3 is the final in the sequence of three history and analysis subjects. Students will acquire theoretical knowledge of Romantic, 20th Century, and the current trends in music around the globe, and analyse selected practitioners' works in depth. Various musical traditions and their influence on contemporary music will be studied. Particular attention will be paid to outlining the connections between the development of music styles, genres, instruments and the cultural aspects of given societies. Through the study of world music and recent trends, students will expand their appreciation of the diversity of aesthetic expression. The connections between previously learned styles of music and modern music practices will be emphasised and used to further contextualise the study of harmony and fundamental aural perception. In this subject students will develop the ability to research and analyse music, review and evaluate musicological and ethno-musicological writings, and use this knowledge to inform their musical experiences.

Contact hours are 1 hour lecture, 1 hour tutorial for 12 weeks.
Prerequisites: MUT205 HISTORY 2
Assessment: Assessment 1:Essay 1: Music of the Classical Period. 33.3%
Assessment 2: Essay 2: Music of the 19th Century. 33.3%
Assessment 3: Essay 3: Music of the 20th and 21st Centuries. 33.3%

Studio Techniques 3 is the third of six units designed to develop advanced sound production techniques. Students continue to analyse and evaluate advanced recording techniques such as outboard effects, advanced gain structure and advanced mic positioning. In order to move beyond elementary recording processes, students analyse and apply extended techniques required for mixing and production, working within new roles. Students work collaboratively on projects, and develop an understanding of different roles within a recording studio environment. They also begin to analyse the creative role of the producer.

Contact hours are 3 hours studio(includes 1 hour production lecture), 2 hours lab each week for 12 weeks.

Prerequisites: BSP121 Studio techniques 2
Assessment: Assessment 1: Pre Production Planning documents 15%
Assessment 2: Studio recording sessions 25%
Assessment 3: Recording Techniques Exam 20%
Assessment 4: Production analysis and mixing tasks 40%

Electronic music production 3: Students appraise existing synthesises methods, using this knowledge to create their own detailed evolving instruments as used most commonly in Electronic Dance Music. Students analyse sonic qualities of full or partially synthesized instruments and develop techniques for replicating and extending on these sounds. Students learn to record and create their own sample libraries. Students demonstrate advanced sequencing techniques by using automation and MIDI control to evolve these sounds over time. Students learn advanced effects techniques including dynamic, frequency and time based effects.
Students are introduced to programming computer music. This involves creating control systems, graphical interfaces, and exploring concepts of artificial intelligence. In practical exercises, students create musical patches and musical control devices using appropriate software such as Max/MSP.

Contact hours are 2 hour sequencing class (instrument design)and 2 hour programming (Max)each week for 12 weeks.

Prerequisites: BSP123 - Music Production 2
Assessment: Assessment 1: Electronic Music Analysis Presentation 20%
Assessment 2: Electronic Music Composition 30%
Assessment 3: Synth and Audio Effects In Max Assessment 20%
Assessment 4: Presentation on Major Assessment in Max 30%

Studio Techniques 4 is the fourth of six units designed to develop advanced sound production techniques. Students continue to develop advanced recording and post-production techniques, including mastering. Students continue to analyse and apply extended techniques required for mixing and production as they further develop more independence and musical control within the craft, developing their own aesthetic and creative ability.

Contact hours are 3 hours studio(includes 1 hour production lecture), 2 hours lab each week for 12 weeks.

Prerequisites: BSP131 Studio techniques 3
Assessment: Assessment 1: Create a drum and percussion sample library 15%
Assessment 2: Analyse sound recordings tasks 35%
Assessment 3: Pro Tools 201 exam 10%
Assessment 4: Class tasks and remix with self reflection and peer review 40%

In Music Production 4, students develop and apply advanced audio editing techniques, more advanced synthesis, including analogue synthesis, and advanced sound control mechanisms. They combine critical listening skills and advanced mixing techniques, combined with all the techniques they have learned in previous electronic music production classes to create a substantial musical work.
Students are introduced to the principles of the physics of sound and psychoacoustics. Students analyse sounds aurally and visually through appropriate computer software applications. This subject explores the structural components of sound waves, sound visualisation and graphing systems, and sound manipulation techniques. In practical exercises, students use basic sound waves to synthesise complex sounds, sample, and create effects using appropriate computer music programming software.

Contact hours are: 2 hour sequencing class (advanced FX processes) and 2 hour programming each week for 12 weeks.

Prerequisites: BSP133 - Music Production 3
Assessment: Assessment 1: Presentation of electronic music works in progress 10%
Assessment 2: Substantial electronic music composition 40%
Assessment 3: Various Max patches 50%

In Aesthetics and Research Seminar 1, various philosophies of aestheticism and a variety of music research methodologies will be explored. The influence of culture on the perception and interpretation of music, and the role of musical structure on aesthetics will be investigated. Topics for investigation will include the notions of music being intrinsically aesthetic; the notions of banality and cliche in reference to musical and artistic sentimentality; emotional expression in music; and notions of the intrinsic value of music. The differences and applications of quantitative and qualitative research will be explored. Various modes for interpreting and presenting research data will be investigated. You will acquire collaborative and individual investigative skills in preparation of group research projects.

Contact hours are 2 hour lecture for 12 weeks.
Prerequisites: None
Assessment: 'Questions' Journal for class sessions 20%
Essay draft, including Topic development, list of sources and Formal Outline (750 words) 30%
Aesthetics Research Project - Final Essay (1250 words) 50%

This is the fifth in a sequence of six music theory subjects. It is delivered as a one hour lecture and a one hour tutorial. The latter is conducted in a computer laboratory. Each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures are aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of chromatic harmony, voice leading and musical form. Students will realise their exercises and compositions by singing, playing and/or using MIDI, which will reinforce their aural training and encourage development of their 'mind's ear'. students will acquire a strong foundation in the elements of music that shaped the music of the late Classical, Romantic, and, to some extent, the Impressionistic eras. Through harmonisation exercises and harmonic analyses, students will acquire an understanding of how tonicisation, modal mixture and chromatically altered chords can affect modulations to distantly related keys.

Contact hours are 1 hour lecture, 1 hour tutorial for 12 weeks.
Prerequisites: MUT204 THEORY 4: ARRANGING
Assessment: In class assessable analysis 1 25%
In class assessable analysis 2 25%
Written Exam (closed book) 120 min 50%

This is the final in a sequence of six music theory units. Delivered as a one-hour lecture, and one-hour tutorial, which is conducted in a computer laboratory, where each computer work station is equipped with a MIDI keyboard, music notation and music sequencing programs. The theoretical and aesthetic principles presented in lectures are aurally reinforced through practical harmony exercises in tutorials, through which students will acquire a thorough understanding of the principles of post-tonal harmony, voice leading and musical form. This subject focuses on seminal post-tonal theories, the associated repertoire, and the aesthetic principles underlying musical trends in the art-music genres of the twentieth and twenty-first centuries. This subject draws on knowledge and skills acquired through the previous five theory subjects. The notions of consonance and dissonance will be shown to be relative concepts. In addition, techniques that are not overtly utilised in mainstream popular music, but have been utilised by experimental jazz artists and creators of music that exists at the fringes of popular culture, will be explored. The evolution and influence of non-tonal practices and experimental music of the twentieth and twenty-first centuries on the development of recent music will be explicitly described in lectures and tutorials.

Contact hours are 1 hour lecture, 1 hour tutorial for 12 weeks.
Prerequisites: MUT303 THEORY 5: CHROMATICISM
Assessment: Harmony Exercises, equivalent to 1000 words 40%
Analysis and Harmony Assignment, equivalent to 750 words 30%
Written and Listening Exam - 45min 30%

This is the second of two subjects designed to give graduates a broad overview of the function of the music business, domestically and internationally.
The business component will investigate the key elements of entrepreneurial thinking and business creation as well as the current climate of the music industry so that students can apply entrepreneurial thinking to their own prospective music industry careers. Students will compile individual and group work portfolios that may include self-promotional materials, business pitches, group CD production, product launch and online e-commerce projects. Guidance in project management, business, strategic and financial planning will facilitate the research projects to be undertaken. Emphasis will be placed on implementing and marketing ideas developed during the semester. Students will gain practical experience in the music industry in a variety of situations through the delivery of a specific project working as team members.

Contact hours are 2 hour lecture for 12 weeks.
Prerequisites: MUT307 MUSIC BUSINESS 1
Assessment: Assessment 1: Sales pitch presentation Week 13 - October 26 20%
Assessment 2: Marketing Plan Week 14- November 2 60%
Assessment 3: Exam - Covering marketing theories, key terms and concepts. Exam Period 20%

This is the first of two subjects designed to give graduates a broad overview of the function of the music business, domestically and internationally.
Music Business 1 focuses on copyright, publishing and business management. This subject introduces students to copyright ownership and exploitation, the role of publishers and copyright collection societies. Students will examine in detail the roles of managers, booking agents and record companies in the exploitation of artists and their works. During this subject students will be introduced to the basics of business planning and organisation, business management and administration, contracts, music licensing and various associated rights in the music industry. Students will acquire knowledge and skills required to operate successfully in the music industry. Students will investigate and meet music industry standards with reference to business and administrative criteria.

Contact hours are 2 hour lecture for 12 weeks.
Prerequisites: None
Assessment: Assessment 1: Industry Standard Biography & Concise 2 Page Promotional Plan 20%
Assessment 2: Draft your own engagement agreement and PERFORMERS create a stage plot for your preferred version of your production. AUDIO engineers creates an operations manual.40%
Assessment 3: Business Feasibility Study (1000 words) 40%

Aesthetics and Research Seminar 2 will challenge you to evaluate the place and function of music and arts in Australian society. Various philosophies of aestheticism and a variety of advanced music research methodologies will be explored. The influence of culture, particularly the Australian culture on the perception and interpretation of music, and the role of musical structure on aesthetics will be investigated. The differences and applications of quantitative and qualitative research will be utilised and various modes for interpreting and presenting research data will be investigated. You will further develop your collaborative and individual investigative skills culminating in the preparation of a major individual research project.

Contact hours are 2 hour lecture for 12 weeks.
Prerequisites: MUT305 AESTHETICS AND RESEARCH SEMINAR 1
Assessment: Essay questions 50%
Final essay 40%
Attendance and participation 10%

Studio Techniques 5 is the fifth of six units designed to develop advanced sound production techniques, progressing toward a career as an audio engineer, mixer or producer. In consultation with their teacher, students plan a large self-devised audio project. The project is conducted over the whole year, with a negotiated progress point that needs to be reached by week 12, where they present the work they have completed so far. Students are highly encouraged to collaborate with students from the Bachelor of Applied Music in order to complete this project.
Students attend a forum series that incorporates Q&A style talks with a range of artists from different areas of sound production. These are designed to help, challenge, inform and focus students on opportunities and approaches within the industry. Students will also use this forum to critically discuss their work with their peers.

Contact hours are 3 hours project(studio), 1 hour forum/lecture, each week for 12 weeks.

Prerequisites: BSP141 Studio techniques 4
Assessment: Assessment 1: Presentation of planned recording project 40%
Assessment 2: Presentation of Major Project Pro Tools session and rough mixes 40%
Assessment 3: Pro Tools 210M exam 20%

Music Production 5 equips students with a thorough understanding of the processes and applications of audio design for use in live performance, installation, composition, sound design and production. Emphasis is placed on the interactive possibilities of music through the use of external controllers and sensors. Students learn to use and map a number of instruments and sensors (e.g. Wii controllers, Leap Motion, Arduino, Teabox) that measure light, pressure, heat, velocity, button states and other properties of the environment surrounding the computer. Students are introduced to the methods of using motion capture in creative music practice. In a number of advanced exercises, students use and map a number of instruments and sensors connected to computers. Students apply methods of motion capture to use in creative music projects.

Contact hours are 2 hours MAX class and 2 hours Project development each week for 12 weeks.

Prerequisites: BSP143 - Music Production 4
Assessment: Assessment 1: Build Electronic to acoustic patches 40%
Assessment 2: Build Sensor Application patches 40%
Assessment 3: Performance or Installation Project proposal 20%

Studio Techniques 6 is designed as the culmination of six semesters progress toward a career as a sound engineer, mixer or producer. Students work on the continuation of the studio techniques 5, self-devised project. Semester two enables students to be mentored and challenged to advance their projects through the recording, production, mixing and mastering stages, demonstrating an advanced understanding of techniques combined with their own aesthetic. Students deliver a final product, which they will be credited with as recorder, mixer and masterer.
Students continue with their forum series that incorporates Q&A style talks with a range of artists from different areas of sound production. These are designed to help, challenge, inform and focus students on opportunities and approaches within the industry. Students also use this forum to critically discuss their work with their peers.

Contact hours are 3 hours project(studio),1 hours forum/lecture
(Produce a finished EP/Product) each week for 12 weeks.

Prerequisites: BSP151 Studio techniques 5
Assessment: Assessment 1: Major project mixing plan document 15%
Assessment 2: Mastering document and presentation 20%
Assessment 3: Delivery of final project and presentation 65%

Music Production 6 refines the students understanding of the processes and applications of audio design for use in live performance, installations, composition, sound design and production. Emphasis is placed on the interactive possibilities of music through the use of external controllers and sensors. Throughout the semester, students carry out a large interactive project, showcasing the knowledge and skills developed over three years of instruction.

Contact hours are 2 hours MAX class, 2 hours Electronic music - interactive showcase each week for 12 weeks.

Prerequisites: BSP153 - Music Production 5
Assessment: Assessment 1: Major Creative Project, first progress report and demonstration 15%
Assessment 2: Major Creative Project, second progress report and demonstration 20%
Assessment 3: Major Project Delivery with written reflection 65%

Songwriting 1 is the first in a sequence of four songwriting subjects. Students undertaking Songwriting 1 will analyse many of the musical devices and conventions that exist in popular and jazz song genres and then apply this knowledge to their own compositional endeavours, at an introductory level. The content of 'Principles of Songwriting' is iterative. Although each level has a particular focus, the songwriter's creative building blocks of melody, harmony, lyric, form, groove and style or character are revisited and explored with increasing sophistication in all four levels of the subject. The delivery style of all four levels includes the same four basic components. 1. Composing independently. 2. Collaboration i.e. working with others to compose and develop songs. 3. Presentation/Publishing (the word 'Publishing' is used loosely to mean the issuing of a copy or copies and includes a broad focus on contemporary technology). 4. Performance (which takes many forms and includes attempts to reach out to the community in which the course operates). Songwriting 1 is delivered at an introductory level, presenting students with basic concepts on which to develop their individual voice in songwriting.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: None
Assessment: Collaborative song writing project 40%
Song Composition, equivalent to 750 words 60%

Composition A2: Introduction to film scoring II is the second of six film and media subjects designed to equip students with the necessary developing skills and knowledge required to identify, describe, compose and arrange music for film cues. Through the historical study and introduction to theoretical analysis of the various genres of post-1950s film music, students will further develop understanding of the aesthetic role and function of music in the film context. Students will consider film scores with reference to established compositional techniques and their applications in defined social, historical and commercial contexts. Using these aesthetic and musical concepts as the foundation, students will continue to develop compositional skills pertinent to film music.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT125 COMPOSITION CONTENT A1: FILMSCORING 1
Assessment: Class exercises 40%
Swinburne University collaboration or alternative - compose, edit and synchronise music to a short movie extract (equivalent 750 words) 60%

Through performing in ensembles, students acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Ideally, students will take the same subject/ensemble for a full academic year, ensuring consistency and stability of performance groups. Students may elect to concentrate on an instrument that is not their primary focus (guitar workshop, string workshop, percussion workshop or keyboard workshop), or to participate in an ensemble that augments their study on their primary instrument (mixed ensemble, choir, or jazz ensemble).
At the intermediate level, it is expected that students will continue to develop skills learned in the introductory subjects.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT152 INSTRUMENTAL STUDIES 2
Assessment: Ongoing Assessment Tasks 40%
Mid Semester Performance Assessment 30%
Final Performance Assessment 30%

Through performing in ensembles, students acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Ideally, students will take the same subject/ensemble for a full academic year, ensuring consistency and stability of performance groups. Students may elect to concentrate on an instrument that is not their primary focus (guitar workshop, string workshop, percussion workshop or keyboard workshop), or to participate in an ensemble that augments their study on their primary instrument (mixed ensemble, choir, or jazz ensemble).
At the intermediate level, it is expected that students will continue to develop skills learned in the introductory subjects.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT251 INSTRUMENTAL STUDIES 3
Assessment: Attendance/Participation 30%
Mid Semester Assessment 30%
End-of-semester Performance 40%

Songwriting 3 is the third in a sequence of four Songwriting subjects. Melody, harmony, lyric, form, groove and style or character are explored with increasing sophistication in these subjects. The focus of Songwriting 3 is feel, groove, mood, style, character and archetype.

This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focussing on contemporary technology, and meaning the issuing of one or more copies. Performance may take many forms, and includes ‘reach out’ events in the community in which the course operates.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT124
Assessment:

Songwriting 2 is the second in a sequence of four songwriting subjects. In Songwriting 2, students will analyse many of the musical devices and conventions that exist in popular and jazz song genres and then apply this knowledge to their own compositional endeavors. Songwriting 2 will primarily deal with lyric writing and form, with some focus on groove, style and character. This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focusing on contemporary technology and meaning the issuing of one or more copies. Performance may take many forms and includes reach out events in the community in which the course operates. Songwriting 2 is delivered at an intermediate level, building on concepts explored in Songwriting 1. Students will continue to develop a sense of personal style in songwriting, and gain a deeper insight into structures and techniques in contemporary song writing.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT123 COMPOSITION CONTENT B1: SONGWRITING 1
Assessment: Reflective Journal - incorporating song drafts and task (equivalent 1000 words) 30%
Class participation/song draft presentation (equivalent 500 words) 10%
Song Composition (equivalent 1500 words) 60%

Composition A1: Introduction to Film Scoring 1 is the first of six film and media subjects designed to equip students with the necessary introductory skills and knowledge required to identify, describe, compose and arrange music for film cues. Through the historical study and introduction to theoretical analysis of film music, students will develop an understanding of the aesthetic role and function of music in the film context. Students will consider film scores with reference to established compositional techniques and their applications in defined social, historical and commercial contexts. Using these aesthetic and musical concepts as the foundation, students will develop compositional skills pertinent to film music.

Contact hours are 2 hours practical for 12 weeks.
Prerequisites: None
Assessment: Essay on an historical aspect of music for film (1000 words) 40%
Analysis and Essay (1000 words) on use of music in assigned films 40%
Scoring Assignment, equivalent to 500 words 20%

Through performing in ensembles, students acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Ideally, students will take the same subject/ensemble for a full academic year, ensuring consistency and stability of performance groups. Students may elect to concentrate on an instrument that is not their primary focus (guitar workshop, string workshop, percussion workshop or keyboard workshop), or to participate in an ensemble that augments their study on their primary instrument (mixed ensemble, choir, or jazz ensemble).

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: None
Assessment: Mid-semester performance assessment (15 minutes) 30%
Ongoing assessment tasks (may be written, or practical, or a combination) (equivalent to 500 words) 20%
End-of-semester performance (20 minutes) 50%

Through performing in ensembles, students acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that they receive through their specialised disciplines. Ideally, students will take the same subject/ensemble for a full academic year, ensuring consistency and stability of performance groups. Students may elect to concentrate on an instrument that is not their primary focus (guitar workshop, string workshop, percussion workshop or keyboard workshop), or to participate in an ensemble that augments their study on their primary instrument (mixed ensemble, choir, or jazz ensemble).

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT151 INSTRUMENTAL STUDIES 1
Assessment: Attendance/Participation and weekly preparation 30%
Mid Semester Assessment 30%
End-of-semester Performance 40%

Songwriting 4 is the final in a sequence of four Songwriting subjects. Melody, harmony, lyric, form, groove and style or character are explored with increasing sophistication in these subjects. The focus of Songwriting 4 is advanced Logic Audio Pro techniques, particularly as applied to effective song crafting and demo-ing. Students will develop their abilities to edit and refine songs and to use Logic Pro for song creation, manipulation and arrangement.

This subject includes four basic components: 1) independent composition, 2) collaborative composition, 3) presentation/publishing, and 4) performance. The term 'publishing' is used loosely in the context of this subject, focusing on contemporary technology and meaning the issuing of one or more copies. Performance may take many forms and includes ‘reach out’ events in the community in which the course operates.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: MUT257
Assessment: Assessment 1: Original Song Stereo Recording 20%
Assessment 2: Original Song Logic Pro Session 30%
Assessment 3: Songwriting Collaboration composition 30%
Assessment 4: Published or Performed Original Song 20%

Studio Teaching 1 aims to provide students with the basic principles and practical applications of teaching the beginning instrumental or voice student in the studio setting. Through the study of learning theories and perspectives in pedagogical approaches, students will develop a foundation for teaching beginning instrumental or vocal students. Students will analyse curriculum design and implementation to engender a musically creative and expressive teaching and learning environment. The study of interpersonal and communication skills in relation to effective teaching practices will enable students to create positive teacher-student relationships. At the completion of the unit, students will have created lesson plans, repertoire lists, strategies for overcoming common technical issues, and a pedagogical toolbox to draw upon when commencing teaching.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: None
Assessment: Presentation: 5-minute lesson - 'Introduction to rhythm reading'. 20%
Two lesson observation reports 20%
Pedagogy Portfolio: The Beginning Student 60%

Building on concepts learned in Studio Teaching 1, students will undertake lesson observations and a teaching practicum of five lessons. Ongoing reflection and refinement in their practicum teaching will enable students to develop personal philosophies as a basis for their pedagogical approach. Students will undertake a survey of teaching methods related to their instrument and examine recent pedagogical research, including strategies for motivating students. Music examination curricula, with a focus on VCE Music Performance, will provide students with knowledge and skills required to satisfy these assessment requirements. The responsibilities, processes and logistics for setting up a studio will be investigated, culminating in the creation of a music studio plan. At the completion of this unit, students will be prepared to commence teaching in their studio or in a school setting, with a collection of pedagogical tools and ideas to teach a diverse range of learners. The importance of undertaking ongoing professional learning will be reinforced through the various learning tasks in this unit.

Contact hours are 2 hours practical for 12 weeks.
Prerequisites: MUT381 STUDIO TEACHING 1
Assessment: VCE Music Assignment, recital preparation and technical SAC preparation 45%
Lesson Video:a)Lesson plan, b) Lesson video: 30 minutes, and c) lesson reflection 55%

In game audio 1, students will be introduced to the world of game audio and look at the varied roils and tools used by those in the game industry. This unit focuses on the collection, creation, management, and delivery of sounds for games, as well as gaining an understanding on how programmers intergrade sounds within games. Students will create preproduction documents, prepare scripts, record sound effects and dialogue, source music, and apply all sound elements within a game level, using the game audio program Wwise.

Contact hours are 2 hours each week for 12 weeks.

Prerequisites: None
Assessment: Assessment 1: Analyse Game Sound Design and presentation 15%
Assessment 2: Sound Design document and Assets List 15%
Assessment 3: Asset Library delivery 30%
Assessment 4: Mixed Sound Design for Game Level 40%

Prerequisites:
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The beat cypher elective will help students refine their compositional and production practices whilst learning about working within an artist collective project. Students are tasked with creating original electronic music projects each week using a Digital Audio Workstation (DAW), adhering to certain restrictions. The subject aims to engage students in a process or rapid iteration to enforce good habits for effective DAW work flow practices and confident creative execution. Through presentation, peer review and self reflection students will develop their composition and production techniques. The subject also has students take ownership or completing a collected work, with input from all stakeholders, using practical project management skills mirroring artist collectives and formalized industry bodies.

Contact hours are 2 hours each week for 12 weeks.

Prerequisites: None
Assessment: Assessment 1: Beat Cypher tasks 60%
Assessment 2: Create a short peer review of another students work 20%
Assessment 3: Create a peer review of another students work and self-reflection of the students own development 30%

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In Game Audio 2, students complete a major project involving the development and creation of sound assets, and the integration of these sound assets within a game level. To emulate the development of a game students will go through the following four stages:
1) Engage with community
2) Submit a Vertical Slice (a proof of concept to iterate from),
3) Engage with industry
4) Complete their game projects

Students will use industry standard tools such as Unity3D and Wwise, as well as a looking at a variety of tools for occlusion and spatial audio mixing. For the latter, the focus will be on concepts, as tools in this part of the industry are evolving rapidly. Students will be preparing for entrance into the industry, networking with fellow students at other institutions, and constructing their online presence, and folio, in preparation for local and online industry events.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: Game Audio 1
Assessment: Assessment 1: Analyse Limbo Audio (quiz) 10%
Assessment 2: Audio Design Document plus vertical slice 15%
Assessment 3: Industry Profile 30%
Assessment 4: 3D Audio Concepts Quiz 20%
Assessment 5: Submission of Unity 3D game and documentation 40%

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Students continue to refine their composition and production skills by using a Digital Audio Workstation to complete a new series of compositions. Further practice and repetition will continue to assist students in refining an efficient work regimen and ability to respond to deadlines. In Beat Cypher 2, students are also tasked to explore new and unfamiliar creative processes through a gamified challenge system. Each student is given the responsibility to control their set of restrictions and encouraged to explore new techniques and expand their repertoire. There is also a greater level of control and responsibility in the students hands to influence the creative direction of the whole group, including the development of shared resources. Throughout this process students explore collaboration and a greater involvement in the creation of their multiple collected works mirroring artist collectives and formalised industry bodies. Students will receive constant feedback on their progress, through a variety of methods, to assist their development. Through presentation, peer review and self reflection students will continue to refine their critical analysis skills and appropriate vocabulary across topics such as the creative process, musical composition and production techniques.

Contact hours are 2 hours practical for 12 weeks.

Prerequisites: Beat Cypher 1
Assessment: Assessment 1: Beat Cypher tasks 60%
Assessment 2: Create a short peer review of another students work 10%
Assessment 3: Create a peer review of another students work and self-reflection of the students own development 30%

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Assessment: