Are you looking for a career in the Music Industry as a composer, orchestrator, sound designer, film and media composer, performer, song writer, music producer or game audio professional? Then Bachelor of Applied Music Composition course is for you. Box Hill Institute will provide you with the skills and experiences you need to excel in these areas.

Real life industry experiences and facilities include:

  • Integrate and collaborate with our Sound, Performance & Business students
  • Be mentored by leading industry experts
  • Work on real films & games
  • Perform your works in our contemporary live venues
  • Become an expert on software such as Logic, Ableton and Max for Live
  • Access to our flagship studio facility, Sing Sing East
  • Access to our internationally renowned Artist in Residence programs
  • On campus record label; Tremorverse Records
  • Learn audio for VR and augmented reality
  • Integrate game compositions with Unity and WWise
  • Access to our analogue synth collection and production/writing suites
  • Study with like-minded creatives and expand your industry network
  • Learn from industry professionals
  • Music Business training
  • Dedicated post production studio

 

The Bachelor of Applied Music: Composition is specifically designed to support emerging composers with a combination of highly trained teachers, extraordinary opportunities and unique experiences that create a bridge to industry.

Students will learn with and be mentored by industry experts in an environment that supports and encourages them to achieve a combination of high level musicianship business acumen and creativity, so they graduate ready to thrive. This is done by integrating real life industry experiences in a supportive atmosphere. This fusion of education and industry is reflected in our teachers that, as well as teaching, currently work as music professionals at the top of their fields.

The Composition students work closely with the Music Business, Production and Performance students to create cross discipline projects in an exciting and talent rich environment. They also all work on Real film and game projects with students from Deakin and Swinburne Universities. This results in projects being already underway and gaining traction when the students graduate. There are many examples of a successful career already beginning while still studying.

Student Quote

“Box Hill Institute was an amazing place to complete my music degree. It provided the students with fantastic facilities and studios, personalised learning, and opportunities to enter and experience the music industry. I feel that Box Hill Institute has equipped me with the skills I need, and the pathways to use them.” Marlon Grunden.

 

Free Online Music Theory MOOC Course
This Massive Open Online Courses (MOOC) program is designed to assist those wishing to develop their music theory skills as a musician and also to prepare for entrance tests for accredited music courses. For further information go to: Online Music Theory Studies.

Course admission profile




Course Code BAMC3
VTAC Code Box Hill-5100251382;
CRICOS Code 085407G
Study Areas Music
Study Level Undergraduate
Course Type Bachelor
Campuses Box Hill Campus​​

Tuition Fee Type Estimated Annual Fee
International Fee $18,530.00
Service Fees Estimated Annual Fees
Service & Amenities* $155.00
Core Skills Support** $75.00
Annual Material Fees No materials fee applies
Retain Course Items*** No fee applies


* Does not apply to VETiS or Short course students.

** Does not apply to VETiS, International students, Short Courses, Graduate Degrees , or re-enrolling students who re-enrol in the same course.

***Retained Course Items are purchased by the student once prior to commencing. The course items bought by the student become the property of the student. Such items retain a generic application for other purposes outside the student's course of study (e.g. textbooks).

Annual student tuition & material fees as published are subject to change given individual circumstances at enrolment. Fees listed are for 2019 and may increase annually over the duration of delivery. Advertised start dates and delivery locations are subject to viable student numbers. For more information please contact our Course Advisors on 1300 BOX HILL.

You must have:

  • have a folio of compositions to present; This is any combination of presented scores, live performed original songs and produced music files (MP3s, CDs, etc)
  • musicianship test- completion of a supervised musicianship test (will be sent upon receipt of student’s application)
  • interview - you will be asked a series of questions relating to your suitability for the course. You should demonstrate a clear understanding of career goals and an aptitude for the course of study, including any relevant industry experience

A minimum IELTS overall score of 6.0 (Academic) with no band less than 5.5. A minimum TOEFL score of 550 for paper examination; 213 for computer based and 79 for Internet based.

For other accepted tests, please visit the English Language Requirements page.

February

Full time: 3 years (classes take place on weekdays)

Mode of delivery is face to face.

You can graduate with the Associate Degree in Applied Music after 2 years of full time study.

Box Hill

Year 12 VTAC applicants must:

  • have successfully completed VCE (or equivalent) with a study score of at least 20 in English (additional consideration will be given for achievement in VCE music subjects)
  • demonstrate aptitude in music composition

Direct entry applicants (Non Year 12) must:

  • be at least 19 years of age by January 1 in the year of commencement.
  • provide evidence of relevant academic or music industry experience and be able to demonstrate the capability to successfully complete the course
  • demonstrate aptitude in music composition

Musicianship test – you will be required to complete a musicianship theory test, with the results determining whether you are required to attend an intensive summer school course during January, before commencing the degree program.

Interview – you will be asked a series of questions relating to your suitability for the course. You are expected to demonstrate a clear understanding of career goals and an aptitude for the course of study, including any relevant industry experience.

You are welcome to present testimonials and extracurricular evidence at this stage, such as AMEB certificates or teacher references. Applicants to the composition stream of the degree are required to present a folio of compositions (i.e. at least one notated score/song and recordings).

 

HIGHER EDUCATION ADMISSIONS CRITERIA

Applicants with Higher Education study

Applicants with higher education are those who have completed some or all of a higher education course as their highest level of study since leaving secondary education.  This includes study undertaken by applicants at either non-university higher education providers or university some time ago or recently, such as applicants seeking to transfer to Box Hill Institute from another education provider or applicants changing to a different course at Box Hill Institute.

Please see individual courses for specific entry requirements.

 

Applicants with Vocational Education and Training (VET) Study

Applicants with VET study are those who have completed some or all of a VET course as their highest level of study since leaving secondary education.  This includes study at a public TAFE or other VET provider and applicants who have other qualifications such as Year 10 or Year 12 secondary school certificate.

Please see individual courses for specific entry requirements.

 

Applicants with work and life experience

Applicants with work and life experience have left secondary education more than two years ago (i.e. applicants who are not classified as recent secondary education applicants) and have not undertaken VET or higher education study since then.

‘Experience’ could include a combination of factors sufficient to demonstrate readiness for higher education.  This includes mature age entry, professional experience, community involvement or work experience.  Applicants may have undertaken non-formal programs that have helped them to prepare for tertiary education or are relevant to the proposed higher education field of study.

Please see individual courses for specific entry requirements.

 

Applicants with recent secondary education

Applicants with recent secondary education are those whose admission is based primarily on completion of Year 12 undertaken at school, TAFE or other VET or higher education provider (this includes both Australian or overseas equivalent) that was completed (or will be) in the current year of with the previous two years.

Please see individual courses for specific entry requirements.

Successful completion will enable you to apply for entry to: 

  • Box Hill Institute’s Master of Music (Contemporary Practice)
  • honours, postgraduate diploma and master’s courses at your chosen university

If you exit after completing 2 years equivalent, you will be eligible to graduate with an Associate Degree. 

Direct entry. See how to apply or contact the international office.

This course is accredited by the Tertiary Education Quality and Standards Agency (TEQSA) and the qualification is aligned with the Australian Qualification Framework (AQF) level 7 and Box Hill Institute Graduate Attributes.

Graduates will be able to:

  • reflect skills and knowledge of the practices, languages, forms, materials, technologies and techniques in the creative and performing arts discipline of music.
  • review, analyse and consolidate conceptual theories and processes in music creation and practice through integrated creative, critical and reflective thought.
  • utilise cognitive and technical skills to demonstrate a broad understanding of the body of knowledge as applicable to music creation and practice.
  • recognise and reflect on social, cultural and ethical issues, and apply local and international perspectives to problem solving practice in the Creative and Performing Arts discipline of Music.
  • interpret, communicate and present ideas, problems and arguments coherently.
  • develop research and evaluate ideas, concepts and processes through creative, critical and reflective thinking and practice.
  • apply relevant skills and knowledge to produce and realise works, artefacts and forms of creative expression.
  • work independently and collaboratively in the creative and performing arts discipline of music in response to project demands.

After completing this course, you may wish to apply for a range of employment opportunities in the music (and related) industries. The range of roles in these industries are many and varied, and may include:

  • composer for film, tv & games
  • sound designer
  • musical director
  • concert music composer
  • writer and arranger
  • producer/programmer/designer of music and multimedia software packages
  • music artist, performer and many more.

Related industries may include recording industry, music publishing, live performance, music retail, advertising, radio, film, video and television, music therapy, music education and music media.

First year – 14 core

Second year – 12 core and 2 electives

3rd year – 12 core and 2 electives

We expect to enrol between 25 and 60 students.

Year 1 Core

Code

Title

Points

MUT103 THEORY 1: VOICE LEADING 3.0

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’
Prerequisites: Nil
Assessment: Quiz: online 10% Analysis and Harmony Assignment 30% Written Exam (Closed Book) 60 mins 60%

MUT104 THEORY 2: DIATONICISM 3.0

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.
Prerequisites: Theory 1
Assessment: Harmony Exercises and worksheets (equivalent of 500 words) 20% Analysis and Harmony Assignment (equivalent of 1000 words) 40%

MUT105 HISTORY 1 3.0

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.
Prerequisites: Nil
Assessment: Analysis Essay (1200 words) 50% On-line quizzes (Closed Book) 50%

MUT107 AURAL 1 3.0

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.
Prerequisites: Nil
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%

MUT108 AURAL 2 3.0

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
Prerequisites: 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%

MUT109 KEYBOARD SKILLS 3.0

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.
Prerequisites: Nil
Assessment: 1. Performance of realised chord progression 20% 2. In class assignments 40% 3. Final exam: performance of set pieces 40%

MUT123 COMPOSITION CONTENT B1: SONGWRITING 1 3.0

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.
Prerequisites: Nil
Assessment: Collaborative song writing project 40% Song Composition, equivalent to 750 words 60%

MUT124 COMPOSITION CONTENT B2: SONGWRITING 2 3.0

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 endeavours. 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.
Prerequisites: 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%

MUT125 COMPOSITION CONTENT A1: FILMSCORING 1 3.0

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.
Prerequisites: Nil
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%

MUT126 COMPOSITION CONTENT A2: FILMSCORING 2 3.0

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.
Prerequisites: 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%

Year 2 Core

Code

Title

Points

MUT203 THEORY 3: JAZZ HARMONY 3.0

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.
Prerequisites: Theory 2
Assessment: Analysis and Harmony Assignment 40% Written Exam (Closed Book) - 90min 60%

MUT204 THEORY 4: ARRANGING 3.0

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’.
Prerequisites: Theory 3
Assessment: Arranging Assignment - 1 (equivalent to 750 words) 50% - Witten Exam (closed book) (equivalent to 1000 words) 50%

MUT205 HISTORY 2 3.0

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.
Prerequisites: History 1
Assessment: Analysis essay (1000 words) 40% Listening review (500 words) 30% Written and listening exam (60 mins) 30%

MUT206 HISTORY 3 3.0

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.
Prerequisites: 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%

Year 3 Core

Code

Title

Points

MUT303 THEORY 5: CHROMATICISM 3.0

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/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.
Prerequisites: Theory 4
Assessment: In class assessable analysis #1 25% In class assessable analysis #2 25% Written Exam (closed book) 120 min 50%

MUT304 THEORY 6: BEYOND TONALITY 3.0

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.
Prerequisites: Theory 5
Assessment: Harmony Exercises, equivalent to 1000 words 40% Analysis and Harmony Assignment, equivalent to 750 words 30% Written and Listening Exam - 45min 30%

MUT321 COMPOSITION STUDIES 5 6.0

Contemporary Composition Techniques will focus on the applications of compositional developments in the twentieth and twenty-first centuries to the composition of concert music, and film and media scores. The aesthetic differences between composing functional music and concert music will be examined. The focus will be on compositional processes, particularly algorithmic compositional processes as they have been applied to the organisation of various musical parameters, but especially pitch and rhythmic organisation. Complex musical structures of seminal works will be studied and analysed. The concepts of integer notation, pitch-class, interval-class, interval vector, common tone theorems, set symmetry and pitch-class set relationships will be examined. Students will be required to compose works utilising set theory and related theories. The application of mathematics to composition in the works of various composers will be examined. Extended instrumental techniques and unconventional music notations will be examined and utilised in students’ composition assignments. The emancipation of dissonance, instrument exploration, new notations, indeterminacy, microtonality, micropolyphony and stochastics will be studied and applied in students’ works.

Contact hours are 4hrs each week for 12 weeks.
Prerequisites: Composition Studies 4
Assessment: Assessment 1: Composition Assignment 1 – New Sounds and New Notations 30%
Assessment 2: Composition Assignment 2 Exploration od Sound Mass 40%
Assessment 3: Composition Assignment 3 Minimalist work for Disklavier 30%

MUT322 COMPOSITION STUDIES 6 6.0

Composition Studies 6: Senior Concert can be considered to be the capstone experience for composition students at Box Hill Institute. Students will work closely with a faculty mentor, either in small groups or individually, to compose, prepare and present a concert of their own works. The intent of this subject is to bring the previous composition studies subjects together to create a representative folio of works of the graduating student. It is anticipated that senior concerts will be presented during the final weeks of semester, with performances involving collaboration with both performance and audio students.

Contact hours are 4 hours each week for 12 weeks.
Prerequisites: Composition Studies 5
Assessment: 1. Scoring Exercises 30%
2. Scoring Assignment 30%
3. Major Project – collaborative work with Swinburne University film students 40%

MUT323 COMPOSITION CONTENT B5: SOUND DESIGN 1 3.0

Composition B5: Sound Design will introduce students to the history of sound design, various sound design platforms and MIDI orchestration in relation to the production of sound design. This subject will explore industry roles and skills of a contemporary sound designer. Students will be introduced to Foley, diegetic and non-diegetic sounds for film and games, and the affective relationship between sound and image. Students will be required to produce sound designs for moving images within short time frames, thereby emulating real conditions in the film and game audio industries.

Contact hours are 2 hours per week for 12 weeks.
Prerequisites: None
Assessment: Assessment 1: Senior Concert preview – discussion and pre-concert performance demonstrating work toward senior concert 20%
Assessment 2: Senior Concert 50%
Assessment 3: Senior Concert Folio 30%

MUT324 COMPOSITION CONTENT B6: SOUND DESIGN 2 3.0

Composition B6: Sound Design aims to further develop students’ skills and abilities to compose music and sound design for film and games using appropriate design and composition platforms. Students will further develop their understanding of the history of film, and game sound design and music, methods and techniques of creating sound designs, and the roles and approaches of various film composers and sound designers. They will also explore and use various technologies for composition and sound design, and develop their understanding of affective relationship between sound and image to an advanced level. Students will be required to produce high quality sound designs for moving images within short time frames, thereby emulating real conditions in the film and game audio industries.

Contact hours are 2 hours each week for 12 weeks.
Prerequisites: Composition Content B5
Assessment: Assessment 1: Sound Design Review 20%
Assessment 2: MIDI Composition and Foley Sound Design Assignment 20%
Assessment 3: Final Sound Design Project 60%

MUT325 COMPOSITION CONTENT A5 3.0

Composition A5: Advanced Film Scoring 1 is the fifth of six film and media subjects designed to advance students’ ability to analyse, evaluate, compose and arrange music for various media. This subject builds on the theoretical knowledge acquired in the previous semesters, but takes a more practical approach to learning composition and scoring techniques in composing music for film. In Advanced Film Scoring 1, students will consolidate and synthesise their knowledge of music scoring techniques by creating music for a range of film projects for in-house and/or external clients. The projects will simulate the film industry and the processes in which composers work with directors and producers. In collaboration with clients, students will create the music from thematic design through to musical arrangement and final recorded soundtrack.

Contact hours are 2 hours each week for 12 weeks.
Prerequisites: Composition Content A4
Assessment: Assessment 1: Concept Exercise 10%
Assessment 2: Motives Exercise 10%
Assessment 3: ‘The Godfather’ Analysis 20%
Assessment 4: ‘The Pact’ Thriller Theme 10%
Assessment 5: Students will compose a soundtrack to a section of a film 50%

MUT326 COMPOSITION CONTENT A6 3.0

Composition A6: Advanced Film Scoring 2

This is the last of six film and media subjects designed to advance students’ ability to analyse, evaluate, compose and arrange music for various media. This subject builds on the theoretical knowledge acquired in the previous semesters, but takes a more practical approach to developing composition and scoring techniques in composing music for media. The concepts introduced in the previous semester will be reinforced and developed through lectures and practical composition exercises.

Contact hours are 2 hours each week for 12 weeks.
Prerequisites: Composition Content A5
Assessment: Assessment 1: Film Scoring Assignment 1 20%
Assessment 2: Film Scoring Assignment 2 20%
Assessment 3: Scoring of a Short Film 60%

Electives

Code

Title

Points

BSP119 GAME AUDIO 1 3.0

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: Nil
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%

BSP129 GAME AUDIO 2 3.0

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%
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%

MUT151 INSTRUMENTAL STUDIES 1 3.0

Through performing in ensembles, you acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that you receive through your specialised disciplines. You may elect to concentrate on an instrument that is not your primary focus (guitar workshop, percussion workshop or keyboard workshop), or to participate in an ensemble that augments your study on your primary instrument (Afrobeat collective, Soul Lab, Choir, Percussion Workshop or Jazz Ensemble).
Prerequisites: Nil
Assessment: Assessment 1: Mid-semester performance assessment (15 minutes) 30% Assessment 2: Ongoing assessment tasks (may be written, or practical, or a combination) (equivalent to 500 words) 20% Assessment 3: End-of-semester performance (20 minutes) 50%

MUT152 INSTRUMENTAL STUDIES 2 3.0

Through performing in ensembles, you acquire theoretical knowledge and practical skills in music performance, which complement and broaden the knowledge that you receive through your specialised disciplines. Ideally, you will take the same subject/ensemble for a full academic year, ensuring consistency and stability of performance groups. You may elect to concentrate on an instrument that is not your primary focus (guitar workshop, percussion workshop or keyboard workshop), or to participate in an ensemble that augments your study on your primary instrument (Afrobeat collective, Soul Lab, Choir, Percussion Workshop or Jazz Ensemble).
Prerequisites: Instrument Studies 1
Assessment: Assessment 1: Attendance/Participation and weekly preparation 30% Assessment 2: Mid Semester Assessment 30% Assessment 3: End-of-semester Performance 40%

BSP119 GAME AUDIO 1 3.0

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: Nil
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%

BSP110 BEAT CYPHER 1 3.0

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%
Prerequisites: Nil
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%

BSP120 BEAT CYPHER 2 3.0

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%
Prerequisites: Beat Cypher 2
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%

BSP110 BEAT CYPHER 1 3.0

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%
Prerequisites: Nil
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%

BSP129 GAME AUDIO 2 3.0

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%
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%

BSP120 BEAT CYPHER 2 3.0

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%
Prerequisites: Beat Cypher 2
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%

MUT381 STUDIO TEACHING 1 3.0

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%

MUT382 STUDIO TEACHING 2 3.0

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%


Last updated: February 22, 2019 12:59pm