Our Master of Music (Contemporary Practice) presents you with a unique approach to postgraduate education in music in Australia. This Master’s provides you with a series of experiences designed to develop the broad-based collaborative, cross-disciplinary skills you need for the wide variety of music careers available in today’s market.
Small class sizes and intense interactions with our highly-skilled and award-winning faculty ensure you’ll be exposed to the widest possible range of ideas and concepts from across the contemporary arts spectrum. Our Master of Music is taught by passionate and engaging staff whose sole focus is to make your learning experience fun, while stretching your abilities and showing you possibilities you might not have thought existed.
At the end of the coursework, you will develop a portfolio of work and write a thesis describing this work, and its historical and ideas-based background. Work on this portfolio is individual and mentored on a one-on-one basis with our faculty staff. You will become an artistic leader through your practice, capable of solving complex artistic music issues and problems in industry-relevant contexts.
The skills and knowledge you acquire will prepare you for various employment opportunities in a wide range of music and related fields.
The Graduate Diploma of Music (Contemporary Practice) serves as the first 8 subjects (6 core units and 2 electives) of the Master of Music (Contemporary Practice). You must first enrol in, and complete, the Graduate Diploma of Music in order to qualify to continue on to the Master of Music.
15 Oct 2019 at 01:00PM AEST
Full time: 2 years (classes take place on weekdays) Classes take place on weekdays.
After successful completion of the first year (6 core units and 2 electives) you can graduate with the Graduate Diploma of Music (Contemporary Practice).
After successful completion, you may wish to apply for roles such as
The course aims to produce musicians who are equally at home in the worlds of composition, improvisation, performance, and production; have a fluid understanding of the world of contemporary critical theory as it applies to music and other art-forms, and who can both interact with practitioners in other art-forms, as well as exploring those art-forms themselves.
This course takes place in the Nelson Campus, at the corner of Nelson and Whitehorse Roads in Box Hill, in our new state-of-the-art music facility.
International students must have completed:
You will be required to demonstrate competence in the English language prior to admission.
An interview with the Course Coordinator is also required for entry into the course. This can be in person or via Skype.
PLEASE NOTE: Box Hill Institute only accept enrolments from International students who are 18 years of age or above at the time of course commencement.
A minimum IELTS overall score of 6.5 (Academic) with no band less than 6.0. A minimum TOEFL score of 575 for paper examination;232 for computer based and 90 for Internet based, or approved equivalent.
For other accepted tests, please visit the English Language Requirements page.
Successful completion will enable you to pursue further studies in the fields of:
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 9 and Box Hill Institute Graduate Attributes.
|Tuition Fee Type||Estimated Annual Fee|
|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|
The Graduate Diploma of Music (Contemporary Practice) serves as the first 8 subjects (6 core units and 2 electives) of the Master of Music (Contemporary Practice) which is a further 5 subjects. All students must first enrol in, and complete the Graduate Diploma of Music in order to qualify to continue on to the Masters of Music.
Contemporary Ideas and Practices is a forum for presenting and discussing emerging ideas and aesthetics in the arts and culture. This ongoing seminar (2 semesters in total) challenges the postgraduate student community to encounter, discuss, present, and write about ideas and issues confronting all artists and practicing musicians in particular. Significant individual contribution is required from each student in the form of discussion, written response papers, and theoretical & artistic presentations. This subject's exploration of emerging ideas and aesthetics will concentrate on the cluster of issues associated with Interpretation, Criticism, and Influence: a deeper look at cultural and critical theories influential to recent developments in music and the arts; theoretical statements and artistic manifestos from futurism to postmodernism to present day arts criticism; repression, censorship, and the arts; evolution of the current political climate as relevant to music practice and publishing; theories of creativity in design, art, literature, architecture as relevant to music, music and spirituality; music's role in liberation movements. What are the larger cultural discussions going on currently and how are they influencing music practice. Contact hours are 3 hours per week for 12 weeks.
Assessment: Assessment 1: Reflective Journal extracts, starting with initial 400 word response paper and continuing through the semester (1500 words total). Due Week 5. Worth 40% Assessment 2: Seminar paper (2000 words) critical analysis of topic and themes relevant to the subject as agreed with subject coordinator by week 4. Presentation of topic including key ideas emerging from the seminar paper in progress (10 minutes). Due Week 13, and upon presentation during the semester as agreed with subject coordinator. Worth 60%
This workshop continues from Creative Music Collaborations 1 in the first year of the program. Whether you consider yourself a performer, a composer, a music technologist, a sound designer or media artist - all participants are expected to compose and perform. Musical idea generation is the goal of this work. With the underlying framework and skills of the subject being developed in Creative Music Collaborations 1, it is the expectation in Creative Music Collaborations 2 that students will be progressing towards mastery of their craft. Collaborative efforts will be more involved and complex, with a deeper understanding of how individual voices and approaches can be combined to form a cohesive whole. Constant documentation and reflection on the process is encouraged; a Performance Document is submitted by each individual musician half-way through the working process, and at the end. Performance documents should fully describe the work undertaken including recordings, scores, and written commentary. The workshop culminates in a public performance of original work designed and performed by the participants. Contact hours are 3 hours per week for 12 weeks.
Assessment: Assessment 1: 'Assembling a Unique Expression' (TM) Personal statement and reflection, outlining the individual qualities of your personal musical voice. 1,000 words. Document and presentation to class. Due Week 2. Worth 10%. Assessment 2: Interview document, re creative collaborative experience of a musician of your choice. Document and presentation to class. 1,500 words. Due Week 3-5. Worth 10% Assessment 3: Performance document 1 including audio/video recording, individual annotations, scores and commentary, equivalent to 2000 words. Due Week 7. Worth 20%. Assessment 4: Performance document 2 including audio/video recording documenting the public performance, individual annotations, scores and commentary, (10 minutes performance, and 2000 words equivalent documentation - indicative load). Due Week 12. Worth 60%
This subject is the first semester of concentrated thesis, exegesis and creative output portfolio development in the candidate's chosen area of expertise. As the thesis, exegesis is a complex project with creative and written components as well as technical components (performance, production), the project will be mentored holistically by relevant faculty throughout the semester. The portfolio is largely prepared independently, with regular one-hour consultations with the portfolio supervisor(s), who are experts in the specified area of work. The portfolio (whether that is composition, performance, media work, experimental work, hybrid forms, ensemble work, solo or ensemble, live or web-enabled) will contain a component of critical writing (thesis or exegesis) to be arranged at the outset with the thesis exegesis supervisor and developed alongside the creative work. Guidelines for duration and quantity of portfolio work, and of the writing component, will be developed by the postgraduate faculty in collaboration with the student and according to project needs. Contact hours are 6 hours per week for 12 weeks.
Prerequisites: Mus523 Research Proposal
Assessment: Assessment 1: Students write a descriptive abstract, which concentrates on identification of the purpose and significance of the research, states the argument and describes the major areas to be covered. Students explicate as much as possible the context and the aims of the research project. The abstract should include the scope of the investigation, the research design and the goal. (1500 words) Students will present this abstract in an oral presentation to cohort, allowing for immediate peer response and feedback (15 minutes). Due Week 5 Worth 30% Assessment 2: Submit sample exegetical writing associated with a creative project (can be research for creative portfolio), (1500 words, with 30 minutes of creative work). Due Week 9. Worth 35% Assessment 3: Thesis and creative portfolio developed in the subject presented for panel review: including a progress report and feasibility study for work next subject (MUS622) (2000 words, with 30 minutes creative work). Due Week 12. Worth 35%
Contemporary Ideas and Practices is a forum for presenting and discussing emerging ideas and aesthetics in the arts and culture. This ongoing seminar (2 semesters total) challenges the postgraduate student community to encounter, discuss, present, and write about ideas and issues confronting all artists and practicing musicians in particular. This subject's exploration of emerging ideas and aesthetics concentrates on the cluster of issues associated with New Thought and New Expressions: frontiers of music and arts practice; artists in Australia - where are we going; music making addressing the global and the local; current journalism in music and the arts; evolving ideas and theories of festival curating, presentation, creativity, publishing; how are the roles of the composer, performer, producer changing. What conceptual paradigms are shifting in the present musical world. What new forms of music, sonic art, performance are emerging. For this final semester seminar subject, students must do the research (i.e. finding out what's happening in Australia today) off campus, out in the real world. Students are encouraged to present their work from this second seminar in an off-campus professional context. Contact hours are 3 hours per week for 12 weeks.
Prerequisites: Mus611 Contemporary Ideas and Practices 1
Assessment: Assessment 1: Reflective Journal, starting with initial 400 word response paper and continuing through the semester (1500 words total). Due Week 5. Worth 40% Assessment 2: Seminar paper (2000 words) critical analysis of topic and themes relevant to the subject as agreed with subject coordinator by week 4. Presentation of topic including key ideas emerging from the seminar paper in progress (10 minutes). Due Week 13 (seminar paper), and upon presentation (week of the semester as agreed with subject coordinator). Worth 60%.
This subject provides a concentrated period of (and support for) completing the thesis exegesis and the creative output in each student's chosen area of expertise. During the semester, the majority of the student's time is devoted to the project in all its aspects: development, completion, public presentation, and documentation. Portfolio development continues from the groundwork undertaken in MUS613. The master's thesis exegesis is largely prepared independently, with scheduled one-hour consultations with the thesis exegesis supervisors who are experts in the specified area of work. The topic and scope of the critical writing component will typically be established (through negotiation) by completion of MUS613. Students will also be preparing creative works, with the expectation that thesis exegesis will be based on or around the creative product. As the portfolio is a complex project with creative and written components as well as technical components (performance, production), the project will be mentored holistically by relevant faculty throughout the year. Students will have the opportunity to access outside sources for mentorship, subject to departmental approval. Students also perform, present and discuss their emerging work to and with other students and other audiences (as appropriate) for feedback as part of a community of practice. Contact hours are 9 hours per week for 12 weeks.
Prerequisites: Mus613 Masters Portfolio Development 1
Assessment: Assessment 1: Progress assessment 1: Selected creative work and exegesis excerpts completed to this time. Progress report comprising reflection of aims, sources and plan for next stage (500 words or equivalent). Due Week 5. Worth 20% Assessment 2: Portfolio completion. Composition of portfolio as agreed with supervisor. Indicative outcomes: 1 hour creative work, at least 10,000 words exegesis and 20 minute reflective or expository presentation. Due Weeks 12 & 13. Worth 80% (assessed by one internal (to Box Hill) and one external (professional expert in the field) assessor.
|Semester one / Full year intake - 2019|
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 17 and 20 students.
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