Are you looking for a career in the music industry as a sound engineer, electronic music artist, film or game audio designer, or audio technician? Then the Bachelor of Sound Production is for you.
Real life industry experiences and facilities include:
The Bachelor of Sound Production is specifically designed to support emerging sound technicians and music producers with a combination of highly-trained teachers, extraordinary opportunities and unique experiences that create a bridge to industry. This course is ideal for people interested in studio recording, mixing and production, electronic music creation, live sound or sound design for film, television, virtual reality and games.
Students will learn a wide variety of skills needed to have a successful, sustainable career in the music industry and will be mentored by experts in a supportive, encouraging environment, so they graduate ready to thrive. This is done by integrating real life industry experiences in a supportive atmosphere.
With access to the best recording and production facilities in music education, sound production students work closely with music performance, music business, composition and film students to create cross-disciplinary projects in an exciting and talent-rich environment. This means projects are already underway and gaining traction when the students graduate. There are many examples of successful careers beginning while students are still studying.
“What’s great about studying at Box Hill is the opportunity to work on real projects in amazing studios. The teachers also have so much industry experience and I’ve been able to meet performers, composers, film makers and game designers that have helped me expand my network.” - Gabby Crump, current Bachelor of Sound Production student.
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28 Oct 2020 at 02:00PM AEST
Box Hill Institute reserves the right to alter or delete details of a course offering, fees or other information provided
February and July
Full time: 3 years or part time equivalent
Delivery is face-to-face with classes scheduled on weekdays.
The Higher Education Diploma in Sound Production is an exit point after 1 year of full time or equivalent of part time study.
The Associate Degree in Sound Production is an exit point after 2 years of full time or equivalent of part time study.
For information regarding dates such as enrolment, orientation and study breaks please visit the Academic Calendars page.
For information regarding dates such as enrolment, orientation and study breaks please visit the Academic Calendars page.
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:
Graduates will be able to:
Year 12 VTAC applicants must:
Direct entry applicants (Non-Year 12) must:
All applicants must complete an Interview and present a Portfolio.
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.
The portfolio can contain any combination of the following: recorded pieces, demo tracks, recommendations, testimonials, statement of results, compositions and any other supporting evidence you believe is relevant to the application.
See below for further information for applicants with:
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 or within the previous 2 years.
Year 12 VTAC applicants must:
Applicants with Vocational Education and Training (VET) Study
Applicants who have completed a VET course of study in sound production or similar at a public TAFE or other VET provider either recently or some time ago are welcome to apply. Applicants seeking to enrol at Box Hill Institute after completing VET study at another education provider or applicants changing to a different course at Box Hill Institute can apply for recognition of prior learning (RPL). All applications for RPL are assessed on an individual basis and are granted for subjects where the content and learning outcomes has been demonstrated through your completion of subjects in your prior course.
You can apply to study with us through direct entry and must also:
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 sound production.
You can apply to study with us through direct entry and must also:
Applicants with Higher Education study
Applicants who have completed some of a higher education course, either at non-university higher education providers or university some time ago or recently, are welcome to apply. Applicants seeking to transfer to Box Hill Institute from another education provider or applicants changing to a different course at Box Hill Institute can apply for recognition of prior learning (RPL). All applications for RPL are assessed on an individual basis and are granted for subjects where the content and learning outcomes has been demonstrated through your completion of subjects in your prior course.
You can apply to study with us through direct entry and must also:
Successful completion will enable you to apply for entry into our Masters of Music (Contemporary Practice).
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.
|Core Skills Support Fee||$83|
|Retain Course Items||$0|
|Total Course Estimate||$57,534|
|Payable Estimate (at commencement)||$18,489|
Retain Course Items are purchased once by the student prior to commencing. Those items then become the property of the student. Fees listed are at 2021 rates and may increase annually over the duration of delivery. The student tuition fees listed are subject to change given individual circumstances at enrolment. For more information please contact our Course Advisors on 1300 BOX HILL.
Completion of 24 core and 4 electives equalling 144 subject points
Electives availability will be discussed at enrolment.
You will also need to complete 30 hours of work placement (which is included in the list of units below - see unit BSP165)
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
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
Live sound 1 has 2 components, a 3 hour live sound class and a 1 hour aural class. The live sound class introduces students to the industry standards regarding analogue work flow. Students identify connections and equipment, assemble sound reinforcement systems, and apply signal processing techniques in a professional audio environment. Safety procedures, including occupational health and safety issues are examined and adhered to in every class. Assessments include system design, application of analogue audio techniques and operation of analogue mixing desks and a signal flow exam. The aural component enables students to identify specific frequency bands, tuning techniques, and identify the specific sonic characteristics of processing effects. Assessment for this component includes listening tests. Contact hours are 3 hour live sound, 1 hour aural, each week for 12 weeks.
Assessment: Assessment 1: Critical Listening Tests 30% Assessment 2: Live Sound Practical tests 40% Assessment 3: Live Sound Documents 30%
In Sound for Media 1, students are introduced to the concept of sound design for different audio-visual media, including, documentary, games, corporate videos, television commercials and film/TV. Student then focus on the necessary techniques to source, create and synchronise sound FX and atmospheres for different visual media. As students will be incorporating material from various sources, issues of copyright and fair use will be examined. Students will undertake a project where they will need create and source sound fx and atmospheres to a brief. Students will be introduced to current media practise. Contact hours are Sound design Location and recording 2 hours each week for 12 weeks.
Assessment: Assessment 1: Sound Effects Project 30% Assessment 2: A Series of Folio Tasks 20% Assessment 3: Conceptualize and create a sound design 50%
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 multitrack 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
Prerequisites: 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.
Prerequisites: Music Production 1
Assessment: Assessment 1: Series of Orchestration tasks in Ableton 25% Assessment 2: Complete a series of sampling and synthesis tasks250% Assessment 3: Create an 8-bit song 20% Assessment 4: Listening and Written exam 30%
Live sound 2 has two components, a three hour live sound class and a 1 hour aural class. The live sound class introduces students to the specifics of digital live sound mixing systems. Students learn advanced operational procedures for a range of sound reinforcement scenarios. Students apply theoretical concepts to live audio situations, and are introduced to live recording techniques. Assessments include digital desk file assessment and a live mixing and stage monitoring assessment. In the aural component students learn to refine frequency band identification, room analysis techniques, compression identification, delay time identification, reverberation characteristics and identify basic music intervals and chord progressions applied to sound production and live events. Assessments for this component include listening tests. Contact hours are 3 hour live sound, 1 hour aural each week for 12 weeks.
Prerequisites: Live Sound 1
Assessment: Assessment 1: Critical Listening test 25% Assessment 2: Observational Practical tests 50% Assessment 3: Live Sound Documentation 25%
Students are introduced to more advanced techniques in sound design. Students apply the processes required to create foley, adr and voice over. Students record and apply their own foley, voice overs and sound effects to a range of visual media Contact hours are Film/Media/TV sound design, Game audio 2 hours each week for 12 weeks.
Prerequisites: Sound for Media 1
Assessment: Assessment 1: Foley Project 30% Assessment 2: Folio Assessment 40% Assessment 3: ADR Assessment 30%
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%
Live sound 3 incorporates 2 elements. A one hour acoustics lecture and a three hour live sound class. The acoustics component focuses on sound propagation and room acoustics, sound level and its measurement. The students gain an understanding of acoustical phenomena in various contexts, as well as the mathematics and spatial qualities of critical listening environments. Students analyse spaces and calculate and enhance the acoustic properties of the space. In the live sound class. Students plan and implement wireless sound equipment within the regulatory confines. plan, set up and mix advanced speaker systems and work to and implement cue systems. Contact hours are 3 hours live sound, 1 hour acoustics each week for 12 weeks.
Prerequisites: Live Sound 2
Assessment: Assessment 1: Wireless frequency and co-ordination task 15% Assessment 2: Planning live mixing tasks 50% Assessment 3: Sound System Design task 15% Assessment 4: Acoustics exam 20%
Sound for Media 3 focuses on sound design for narrative film, animation and emerging broadcast mediums. Students undertake further training in script analysis, dramaturgy, as well as learning more advanced sound design techniques. Students are exposed to industry practise through leading sound design practitioners as well as undertake sound design projects. Contact hours are Film/Media/TV sound design. ADR 2 Hours each week for 12 weeks.
Prerequisites: Sound for Media 2
Assessment: Assessment 1: Script analysis and sound design plan 25% Assessment 2: Soundtrack to short film presentation 20% Assessment 3: Create a soundtrack to a short film including all dialogue and sound effects, with self reflection and peer review 55%
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.
Students select an area of live sound such as, live recording, theatre, live music, sports presentation or corporate events. Students then focus on a specialisation role such as front of house engineer, systems technician or sound designer. They undertake a semester long project where they research, then apply the knowledge in a real world or simulated environment. Students also undertake a networking and communications program that gives students knowledge on the technical details and uses of different networking and communications technologies, both standard and emerging that are used in both audio and visual professions. Contact hours are 3 hour live sound, 1 hour communications each week for 12 weeks.
Prerequisites: Live Sound 3
Assessment: Assessment 1: Dante Network Practical and written assessment 50% Assessment 2: Real World or Simulated Live Sound Project 50%
Sound for Media 4 focuses on sound design for computer games and game trailers. Students undertake training in the techniques required to design advanced sound designs for computer games on all platforms. Students learn advanced sound effects design and processing, story analysis, synchronisation, voice over and narration recording specifically for computer games. Students are introduced to surround sound mixing, and work on delivering appropriate deliverable media for all gaming platforms. Contact hours are Film/Media/TV sound design. Special Effects 2 Hours each week for 12 weeks.
Prerequisites: Sound for Media 3.
Assessment: Assessment 1: Game analysis and sound design 25% Assessment 2: Major Sound Design project progress presentation 10% Assessment 3: Major Project - Create the sound for a computer came, including music and sound effects, with a self reflection and peer review 65%
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.
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%
This subject is designed to give graduates a broad overview of the function of the music business, domestically and internationally, and develop a range of related skills. This subject introduces students to the key elements of entrepreneurial thinking and business creation as well as the current climate of the audio industry so that students can apply entrepreneurial thinking to their own prospective industry careers. Students 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 industry in a variety of situations through the delivery of a specific project working as team members. Skills are developed in areas such as business planning and organisation, business management and administration, contracts, music licensing and various associated rights in the music industry. Contact hours are 1 hour lecture: Copyright, 2 hour tutorial: MUT307, each week for 12 weeks.
Assessment: Assessment 1: Copyright Test 10% Assessment 2: Music Business Exam 40% Assessment 3: Detailed Business plan and marketing plan for you business project 50%
Students learn mixing techniques specifically for computer game sound. Students mix and prepare for different platforms including PC, Xbox One and PS4, as well as portable gaming devices. Students use compression, equalisation and other processing effects to mix and master computer game sound designs to industry standards. Students mix in an industry standard studio with surround sound capabilities. Students deliver appropriate media for the different gaming platforms. Students begin a sound design collaboration and design all sound design elements for a short film. Contact hours are 2hr Game mixing, 2hr Create a sound design folio each week for 12 weeks.
Prerequisites: Sound for Media 4
Assessment: Assessment 1: Compiling and synchronisation for computer game audio 25% Assessment 2: Present a plan with appropriate media to develop a computer game sound design 25% Assessment 3: Game Audio Mixing Project 50%
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.
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%
This subject enables students to apply their knowledge and skills working in industry. Students use action learning and reflective practice to synthesise the theory and principles encountered throughout the course. The work placement is an opportunity to appraise and critically assess new skills and knowledge, reflect on the implications for the future, and refine career goals and directions accordingly. Students have at least 30 hours of work placement relevant to sound production (max 38 hours). The subject includes ongoing online forums in which students will debrief and share experiences, building skills and enhancing learning capability. There will also be introductory lectures to help prepare the students for the work placement. Contact hours are 30 - 40hrs allowance (3hrs Teaching p/week)each week for 12 weeks.
Assessment: Assessment 1: e-portfolio assignment 30% Assessment 2: Presentation on work experience 30% Assessment 3: Workplace evaluation (submitted by workplace employer) 40%
Sound for Media 6 focuses specifically on mixing sound for film. Using a specialised media mixing facility, students learn to mix media to a broadcast standard. Students mix to surround sound formats, and are introduced to industry standard dolby enconding. Students required to balance music, dialogue and sound effects from stem in a professional mixing environment. Students continue their sound design collaborations. Students deliver all sonic elements of a detailed sound design. Contact hours are 2hr Film mixing, 2hr Create a sound design folio, each week for 12 weeks.
Prerequisites: Sound For Media 5
Assessment: Assessment 1: Compiling and synchronisation of audio into a short film 10% Assessment 2: Short Film mixing and post production 40% Assessment 3: Major sound design project presentation with self reflection and peer review 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.
This subject is the first of two film and media elective subjects designed to equip you 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, you will develop an understanding of the aesthetic role and function of music in the film context. You will consider film scores with reference to established compositional techniques and your applications in defined social, historical and commercial contexts. Using these aesthetic and musical concepts as the foundation, you will develop compositional skills pertinent to film music.
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%
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%
Songwriting 1 is the first in a sequence of four songwriting elective subjects. Creative building blocks of melody, harmony, lyric, form, groove and style are revisited and explored with increasing sophistication in the subject sequence. You will analyse many of the musical devices and conventions that exist in popular song genres and then apply this knowledge to your own compositional endeavors, at an introductory level.
Assessment: Collaborative song writing project 40% Song Composition, equivalent to 750 words 60%
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.
Corequisites: 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%
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).
In MUT152, students choose one (2 hour) practical class from the following options:
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%
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
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%
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 student’s 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.
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%
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
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%
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:
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
The aim of this subject is for students to investigate real business scenarios (which present music business opportunities related to music events), design solutions and produce outcomes which are likely to satisfy key participants and stakeholders. With a focus on planning and delivering events through the innovative Music Industry Business Office (MiBO), the subject aims to create practical and real workplace skills that are applicable to the music industry and in wider business scenarios.Contact hours are 1 hour lecture, 1 hour tutorial for 13 weeks.
This is a workshop-based subject that mentors students through the process of booking and promoting multi-bill shows at established venues. Students will build on skills developed in Applied Business 1 with an increased focus on promotional and communication skills, as well as further emphasis on finding and developing talent.Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
|Semester one / Full year intake - 2020|
Number of students
% of all students
(A) Higher education study (includes a bridging or enabling course)
(B) Vocational education and training (VET) study
(C) Work and life experience (admitted on the basis of previous achievement not in the other three categories)
(D) Recent secondary education:
Admitted solely on the basis of ATAR (regardless of whether this includes the consideration of adjustment factors such as equity or subject bonus points)
Admitted where both ATAR and additional criteria were considered (e.g. portfolio, audition, extra test, early offer conditional on minimum ATAR)
Admitted on the basis of other criteria only and ATAR was not a factor (e.g. special consideration, audition alone, schools recommendation scheme with no minimum ATAR requirement)
We expect to enrol between 25 and 60 students.
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