THE UNIVERSITY OF MELBOURNE

FACULTY OF MUSIC

HANDBOOK, 1987

PUBLISHED BY THE UNIVERSITY

STUDENT DIARY

Students are reminded that information on matters of general concern, e.g., Amenities and Services Fee, Enrolment, Assessment, Student Membership Cards, Colleges and Halls of Residence, Careers and Appointments Service, University Facilities, Financial Assistance, etc., is to be found in the Student Diary.

ENROLMENT

Information on enrolment procedures will be supplied by Student Administration Office at the place of enrolment.

BOOKS

Lists of essential preliminary reading, prescribed texts and scores, and important reference works for the various subjects are located in a separate BOOKLISTS section near the end of this Handbook.

SUSPENSION OF SUBJECTS

In exceptional circumstances the Council is empowered to suspend subjects and vary the syllabus of a subject. For example, insufficient enrolments may be a ground for suspending an optional subject. Details of any such alteration will be available from the appropriate Faculty or Board of Studies Office and will be announced on departmental notice-boards.

Published November 1986

ISBN 0 86839 999 X

TABLE OF CONTENTS

Faculty of Music 5 Important Dates 5 Faculty of Music Membership List 6 Academic Staff 8 Instrumental Teachers 11 Singing Teachers 12

Section 1 : Information for Prospective Students 13 General Introduction 13 Undergraduate Courses 13 Postgraduate Courses 13 Single Subjects 13 Orchestral Bursaries 13 Quotas and Applications 13 Principles of Selection 14 Summer School in Basic Music Theory 14

Section 2 : Courselnformation for Enrolled Students 15 Course Planning and Approval 15 Enrolment 15 Matriculation Roll 15 Deferment of Place 15 Activities 16 Facilities 16 Music Students'Society 17 Attendance and Participation in Courses 17 Directions, Resolutions and Rules relating to Assessment 18 Special Consideration 18

Section 3 : Regulations for Music Degrees 21 Regulation 3.56 — Degree of Bachelor of Music 21 Regulation 3.56A — Degree of Bachelor of Music Education 22 Regulation 3.63 — Degree of Master of Music 22 Regulation 3.60 — Degree of Doctor of Philosophy 24 Regulation 3.57 — Degree of Doctor of Music 24

Section 4 : Details of Subjects — Undergraduate degrees 25 Summary List of Subjects 25

Degree of Bachelor of Music 25 Degree of Bachelor of Music (Honours degree) 26 Degree of Bachelor of Music Education 27

Details of Subjects 28

Section 5: Postgraduate Studies 52 Degree of Master of Music 52 Degree of Doctor of Philosophy 52 Master of Music 52

Section 6: Exhibitions, Scholarships, Prizes & Financial Assistance 54 Section 7: Booklists 53

Section 8 : Appendices 71 Appendix 1:

University General Principles of Selection for Entry to Postgraduate Courses 71 Appendix 2:

Music Courses at the Victorian College of the Arts 74

THE FACULTY OF MUSIC — ADMINISTRATION Dean — RONALD FARREN-PRICE, DipMus. Deputy Dean — GRAHAM ALFRED BARTLE, BA MMus DipEd., FTCL, MIMT. Associate Dean (Research) — PROFESSOR PETER JOHN DENNISON,

BMus Syd., MA Oxf. & Camb. DPhil Oxf. PhD Camb., FRCO. Assistant Register (Music) — DAVID MARSH BURD Administrative Officer— DANIELLE CHIPIER, BA.

THE CHAIRS OF MUSIC The Ormond Chair of Music was founded in the University of Melbourne by the generous endowment (C20.000) of Francis Ormond in 1888. In 1894, a Con-servatorium of Music was established.

•A second Chair of Music was founded in 1973, and first filled in August 1975.

THE BUILDING The Faculty building consists of 27 teaching rooms, a seminar room, a concert hall, The Melba Hall, a small lecture hall, The Heinze Room, an electronic music studio, administrative offices, staff and students' rooms. The music branch library is located on the 3rd floor of the Baillieu Library. A practice block is located in Barry Street. The Grainger Museum is adjacent to the Faculty. Some of the large lectures are held in Theatre A, Old Arts Building.

IMPORTANT DATES Jan. 16 — Last day of enrolment for students previously enrolled. Jan. 31 — Closing date for M.Mus. and M.Mus. (prelim.) applications. Feb. 13 — Research and Postgraduate Studies Committee Meeting. Feb. 13 — Undergraduate Applications.

March 2 — First Term begins. March 11 — Research and Postgraduate Studies Committee Meeting. March 11 — Undergraduate Applications Committee Meeting. Apr. 8 — Faculty of Music. Apr. 17 — Easter recess begins — Office reopens April 22. May 20 — Research and Postgraduate Studies Committee Meeting. May 31 — First Term ends.

June 1 — Second Term begins. June 8 — Queen's Birthday (University Holiday). June 17 — Faculty of Music. July 4 — Week of Music begins. July 8 — Research and Postgraduate Studies Committee Meeting. July 8 — Undergraduate Applications Committee Meeting. August 30 — Second Term ends.

August 31 — Third Term begins. Sep. 9 — Research and Postgraduate Studies Committee Meeting. Sep. 30 — Faculty.of Music. Oct. 7 — Research and Postgraduate Studies Committee Meeting. October 25 — Third Term ends.

October 26 — Examination Term begins. Oct. 28 — Last day of submission of application for selection as an

Undergraduate student in 1988. Nov. 4 — Research and Postgraduate Studies Committee Meeting. Nov. 18 — Faculty of Music. Dec. 2 — Research and Postgraduate Studies Committee Meeting. Dec. 9 — Undergraduate Applications Committee Meeting. December 13 — Examination Term ends. December14,1987 — March 6,1988 — Admissions Term For other dates see the Student Diary.

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THE FACULTY OF MUSIC MEMBERSHIP (Information as at 13.10.86)

The Dean, MR R. FARREN-PRICE The Deputy Dean, MR G.A. BARTLE The Associate Dean (Research) — PROFESSOR P.J. DENNISON The Vice-Chancellor The Deputy Vice-Chancellors

Professors, Readers, Senior Lecturers and Lecturers of the full-time academic staff:

PROFESSOR M. BRIMER

PROFESSOR P.J. DENNISON

DR B.E. CONYNGHAM

MR M.J.L. COOKE

MR C.J. MARTIN

MR C. PINI

MR P.R. TAHOURDIN

MR D.W. THORNTON

MRC.L. AYREY

DR J.A. GRIFFITHS

MSD.E. ERIDONMEZ

MR A. SEMETSKY

MR M.G.W. GILLIES

Members ot the part-time stall elected annually: MISS M. CLIFFORD

Members of the full-time tutorial staff elected annually:

MR B. BROADSTOCK

MSC. JUDD

Nominated annually by the Faculty of Education: MR W. G. S. SMITH

Nominated annually by the Faculty of Arts: MR E. A. HUCK

Four Student members appointed annually

MS L. BRADLEY

MR C. PILKINGTON

MS D. SEGAL

Nominated annually by the Graduate Committee:

MISS G. NORTHEY

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Member appointed by The Academic Board: PROFESSOR L. K. STEVENS

Members appointed by the Council:

MR N. BOURKE

DR E.L. BURGE

DR K. DREYFUS

MR E.JENSEN

DR E.G. MUIRHEAD

DR D.G. PARBERY

DR. J. PRESSING

MR.W.D. RICHARDSON

PROFESSOR R. SUSSEX

MR G. TIBBITS

MR M.S. WILLIAMS

MR B. WORLAND

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ACADEMIC STAFF (Information as at 13.10.86)

Chairman of Department and Reader: RONALD FARREN-PRICE, DipMus.

Ormond Professor: MICHAEL BRIMER, BA Cape T. BMus Lond. MA Camb., FRCO ARCM ADCM

Professor: PETER JOHN DENNISON, BMus Syd. MA Oxf. & Camb. DPhil Oxf. PhD Camb.,

FRCO

Readers: BARRY ERNEST CONYNGHAM, MA Syd. DMus MAXWELL J. L. COOKE, MMus DipMus Perfectionnement 6eme degre Ecole

Normale de Musique, MACE MIMT

Senior Lecturers: GRAHAM ALFRED REGINALD BARTLE, BA MMus DipEd, FTCL, MIMT CHRISTOPHER JOHN MARTIN CARLPINI PETER RICHARD TAHOURDIN, MMus Tor., LTCL DONALD WILLIAM THORNTON, BMus Lond. BSc W.Aust. MMus

Lecturers: CRAIG LESLIE AYREY, BMus Canf. MMus Auck. & Lond., LTCL DENISE ELIZABETH ERDONMEZ, BMus Melb. & Mich., LMusA RMT CMT MALCOM GEORGE WILLIAM GILLIES.BA A.N.U.

MA Camb. MMus Lond. DipEd, LMusA LTCL FLCM JOHN ANTHONY GRIFFITHS, BA PhD Monash ALEXANDER SEMETSKY, Diplome Moscow Con.

Librarian: MARGARET GREENE

Research Fellow: KAY DREYFUS, MMus PhD

Associate: THERESE RADIC, MMus PhD

Senior Tutor: BRENTON BROADSTOCK, BA Monash MMus Memphis

Tutors: ROBERT JUDD, BMus Kent MMus Rice CRISTLE COLLINS JUDD, MMus Rice & Lond. SANDRA McCOLL, BMus MA AMusA CHRISTOPHER MICHAEL MARK, BAS'fon.

Part-Time Staff: FREDA ASH (Music Education) ROBERT BILSBOROUGH, BMus BEd Monash, Dalcrozer Licentiale (Music

Education) DAVID BLOOM (Flute)

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RHONDA BRUCE (Singing) MARJAN BRYSHA (Double Bass) ' CHRISTOPHER BURGESS, BMusEd (Music Education) KEVIN CASEY, DipMus (Singing) MAY CLIFFORD, BMus DipEd, LRSM (Piano) PETER CLINCH, PhD Monash MMus, LMusA (Saxophone) JEFFREY CRELLIN (Oboe) JOAN DARGAVEL (Singing) ROGER DAVIES (Trombone) PRUDENCE DAVIS (Flute) GREG DIKMANS, BMus Syd DipBaroque Flute Brussels (Baroque Flute) PETER EDGE (Flute) GRAEME EVANS (French Horn) HAROLD EVANS (Bassoon) DAVID FARRANDS (Trumpet) MANUEL GELMAN, MA BEd (Music Education) EILEEN GILLIGAN (Flute) PHILLIP GREEN, BMus (Violoncello) ALEX GRIEVE (French Horn) JUDITH GRIEVE, (Oboe) RUTH GURNER, MusBac AUA Adel., LMusA (Singing) NATHAN GUTMAN, DipMus MusBac MLaw Warsaw (Violin) ANDRE HADGES (Violin) CHARLOTTE HAIN-SHARLOW (German) IAN HARRISON, DipMus, ARCM Lond. AdvDipMEd Kodaly Inst.

(Music Education) ROGER HEAGNEY, MMus (Harpsichord) ANTHONY HICKS, BEd (Saxophone) DAVIN HOLT (Double Bass) MARIANNE HUNT, BMus (Violoncello) HUW JONES (Harp) MACK JOST, BMus DipMMus, LRAM (Piano) BRETT KELLY (Trombone) IAN KING (Tuba) ERIC KLAY (Trombone) DOUGLAS LAWRENCE, MMus (Organ) PETER LYNCH, DCSM LTCM LMusA (Guitar) BETTINE McCAUGHAN (Singing) KENNETH McCLIMONT (Trombone) JOHN MALLINSON, BMus, ARCM LRAM ARCO (Organ) MURRAY MARDARDY (Singing) CHRISTOFF MAUBACH, BMus Dance Ed (Music Education) HANS-DIETER MICHATZ (Baroque Flute) PHILLIP MIECHEL, MMus (Clarinet) IAN MORGAN, MusBac (Clarinet) BRENTON MOUY, BEd (Percussion) THOMAS NICOLL (French Horn) JUNE NIXON, BMus DipMus, FRCO (CHM) ARCM (Organ) LINDSAY O'NEILL, BMus Adel., FRCO (CHM) ARCM (Organ) GEOFFREY PAYNE, ASCM AMusA LTCL (Trumpet)

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Part-Time Staff— continued MERYL ROSS, BMus (Pianoforte) PAUL SARCICH (Percussion) JOHN SCHMIDLI, AMusA (Trumpet) ROBERT SEDERGREEN (Jazz) FREDERICK SHADE, BA, AMusA (Flute) ROBERT SIMS, BMusEd BMus (Trumpet) GENNADY SLAVSKY (Bassoon) LORIS SYNAN, DipMus (Singing) RICHARD WEBB (Guitar) NORMAN WEINER (Oboe) HENRY WENIG (Violoncello) RUTH WILKINSON, BMus Q'ld. (Recorder) PAUL WILLIAMS (Bassoon) LARRY WILSON (Percussion)

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INSTRUMENTAL TEACHERS Piano:

PROF. MICHAEL BRIMER MAY CLIFFORD MAX COOKE RONALD FARREN-PRICE MACK JOST MERYL ROSS ALEXANDER SEMETSKY DONALD THORNTON

Organ: DOUGLAS LAWRENCE JOHN MALLINSON JUNE NIXON LINDSAY O'NEILL

Harpsichord MAX COOKE ROGER HEAGNEY

Violin: NATHAN GUTMAN ANDRE HADGES CHRISTOPHER MARTIN CARLPINI SPIROS RANTOS

Viola: CHRISTOPHER MARTIN

Violoncello: PHILLIP GREEN MARIANNE HUNT HENRY WENIG

Double Bass: MARJAN BRYSHA DAVIN HOLT

Harp: HUW JONES

Guitar: JOHN GRIFFITHS PETER LYNCH

Trombone: ROGER DAVIES BRETT KELLY

• ERIC KLAY KENNETH McCLIMONT

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Percussion: BRENTON MUOY PAUL SARCICH LARRY WILSON

Lute: JOHN GRIFFITHS

Flute: DAVID BLOOM PRUDENCE DAVIS PETER EDGE EILEEN GILLIGAN FREDERICK SHADE

Baroque Flute: GREG DIKMANS HANS-DIETER MICHATZ

Recorder: CHRISTOPHER BURGESS GREG DIKMANS RUTH WILKINSON

Oboe: JEFFREY CRELLIN JUDITH GRIEVE NORMAN WEINER

Clarinet: PHILLIP MIECHEL IAN MORGAN

Saxophone: PETER CLINCH ANTHONY HICKS

Bassoon: HAROLD EVANS GENNADY SLAVSKY PAUL WILLIAMS

French Horn: GRAEME EVANS ALEX GRIEVE THOMAS NICOLL

Trumpet DAVID FARRANDS GEOFFREY PAYNE JOHN SCHMIDLI ROBERT SIMS GORDON WEBB

Tuba: IAN KING

SINGING TEACHERS RHONDA BRUCE KEVIN CASEY RUTHGURNER BETTINE McCAUGHAN MURRAY MARDARDY LORIS SYNAN

SECTION 1 :

INFORMATION FOR PROSPECTIVE STUDENTS

GENERAL INTRODUCTION The Faculty of Music offers the Bachelor of Music (B.Mus.) at pass or honours level and the Bachelor of Music Education (B.Mus.Ed.) courses, both of which require four years' full-time study. The courses are com­prehensive and cover both practical and academic subjects. The Faculty also offers its history of music subjects (available as a major) and, at the first year level, the music performance subject to students in other faculties, subject to selection in the quota. In the B.Mus. course students are given the opportunity to specialize In performance (instrumental or vocal), music teaching, composition, musi-cology or music therapy. Students who plan to seek work as music therapists are advised to undertake the course structure outlined in Section 4.

The B.Mus.Ed. course is designed to equip students for careers in the teaching of school music. The course provides a comprehensive coverage of studies in music together with the relevant subjects from the course for the Diploma of Education. The Faculty also provides teaching which leads to the degrees of Master of Music (M.Mus.), Doctor of Philosophy (Ph.D.), and Doctor of Music (D.Mus.).

UNDERGRADUATE COURSES Bachelor ol Music (Pass or Honours) and Bachelor of Music Education The regulations covering these courses, together with a list of subjects to be completed, are to be found in Section 3.

POSTGRADUATE COURSES Master of Music Doctor of Philosophy Doctor of Music

The regulations covering these degrees are to be found in Section 3. See also the University General Principles of Selection for Entry to Postgraduate Courses in Section 8, Appendix 1.

SINGLE SUBJECTS Students wishing to undertake single subjects from the Undergraduate Music degree courses not leading to any of the above qualifications should contact the Faculty office in the first instance.

ORCHESTRAL BURSARIES A limited number of Orchestral Bursaries is awarded to players of orchestral in­struments who have taken Music Performance 1A to enable them to continue study at higher levels. The award of an orchestral bursary carries with it the obligation to take part in orchestral activities in the Faculty.

QUOTAS AND APPLICATIONS There is a quota of 65 for entry to the first year of the course. Competition for places is intense and a high academic standard is required of successful appli­cants. In recent years, the number of applicants has greatly exceeded the number of places available. Because there is a quota for Music, it is necessary to apply for selection, not later than the end of October in any year, in respect of the followino year. Application is made direct to tho Victorian Tertiary Admissions Committee, 40 Park Street, South Melbourne 3205. The VTAC publishes its VTAC Guide to Courses in Colleges and Universities which contains application details and is available on request from that office in September of each year.

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PRINCIPLES OF SELECTION Applicants are advised to consider the General Principles of Selection and the Special Principles of Selection which are appropriate to the level at which they may be seeking entry to courses.

Principles of Selection, which concern students wishing to undertake Music courses, cover the following areas:

* University General Principles of Selection for Entry to First Year Under­graduate Courses.

* Special Principles of Selection for Entry to First Year Undergraduate Cour­ses in the Faculty of Music.

* University General Principles of Selection for Entry to Second and Later Years of Undergraduate Courses.

* Special Principles of Selection for Entry to Second and Later Years of Undergraduate Courses in the Faculty of Music. University General Principles of Selection for Entry to Postgraduate Courses (Section 8, Appendix 1).

For the University's Policy regarding Applicants for University Entrance who hold Tertiary Orientation Programme Qualifications, see the University Prospectus. Potential applicants, after reading the relevant sets of principles, should seek fur­ther information from the Faculty or the Office for Prospective and New Students,

. if they need assistance in interpreting these principles in the light of their own cir­cumstances and background. Applicants who have attempted or completed tertiary studies will be considered for entry at the highest level for which they are assessed to be eligible, if they are not assessed as eligible for the level sought. Course application forms make provision for these arrangements and applicants who are unsure of their eligibility for a particular year or level of entry are encouraged to seek advice. The number of places available in each course is limited and there may be quotas in specific years of a course and, in some cases, subjects or units.

SUMMER SCHOOL IN BASIC MUSIC THEORY In January the Faculty, in conjunction with the Victorian Society of Organists, may conduct a Summer School in Basic Music Theory. The course is designed to be of particular value to students with a limited background in Music theory who intend to undertake tertiary studies in Music. Full details of the course are available from the Faculty Office.

• Now published in ihe University Prospectus, available from the Office for Prospective and New Students

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SECTION 2 :

COURSE INFORMATION FOR ENROLLED STUDENTS COURSE PLANNING AND APPROVAL

After selection, all new students will be interviewed and auditioned. At this time they will be allocated to a practical teacher. Students will also be asked to nominate the course they wish to pursue. Students seeking information on subjects available In other faculties are advised to study the relevant Faculty Handbook. Once a student's course has been authorized, no changes are permitted without approval. Students wishing to change courses must first call at the Faculty office to obtain the necessary approval and amendment of authorization.

ENROLMENT After students have been notified of their selection, they will be required to attend at the Faculty office to accept the offer of a place and to obtain an authority to enrol. Students must then attend at the Student Administration Office to complete enrolment formalities. (Information on enrolment procedures will be supplied by the Student Administration Office at the place of enrolment). Confirmation of Enrolment In order to maintain the accuracy of the University's records, every stud­ent will be required to lodge a re-enrolment slip at the end of first term, showing the subjects which he or she proposes to study for the remainder of the year. Any student who does not wish to proceed with his or her course must report to the Faculty office and also notify the Student Administration Office in writing immediately. A new enrolment must also be lodged at the beginning of each year. Discontinuation Persons wishing to discontinue their courses, should refer to Regulation 2.2, sec­tions 5 and 6, in the University Calendar.

MATRICULATION ROLL When beginning a course for a degree or diploma which requires mat­riculation, all students must sign the prescribed declaration at the time of enrolment. Unless this is done no subjects passed can count towards a degree or diploma requiring matriculation. In order to be eligible to sign the matriculation roll, candidates must have: (a) satisfied the general entrance requirements of the University; (b) satisfied the special course requirements, if any, for their particular

course; (c) been selected for and enrolled in their course; and (d) attained the age of seventeen years by 31 March of the year con­

cerned.

DEFERMENT OF PLACE All courses in the University of Melbourne may permit students to defer the com­mencement of their studies. Applications for deferment should be made after receipt of an offer, during the period allowed for signifying acceptance of the offer. Students whose applications are approved are not required to enrol. Towards the end of the year for which deferment was granted, students will be asked to confirm that they intend to accept a place in the following year.

Students who are granted deferment do not have to re-apply for admission to the course for which deferment was approved. If, however, they wish to seek admis­sion to another course, they must re-apply for admission through VUAC.

Students awarded a place in the Faculty of Music for a particular year will be per­mitted to defer that place only in exceptional circumstances.

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ACTIVITIES Lectures, Seminars, Tutorials Details of the requirements for individual subjects may be found In the Details of Subjects (Section 4). Timetables will be available before the commencement of the academic year. Students enrolled for a subject in another faculty should consult the faculty office concerned. Students are advised that insufficient enrolments may be a ground for suspending an optional subject.

Practical Tuition Practical tuition in Music Performance is arranged on the basis of individual and group tuition in alternate weeks. In Pass subjects the individual tuition will consist of a 45-minute lesson for each student. Group tuition will take place in a class of 90 minutes for up to five students. By special arrangement, students may sit in on any such classes conducted by teachers other than their own, if they wish. Fourth Year honours students receive one hour of individual tuition each week.

Ensemble Performance The courses in Ensemble Performance are intended to give education and experience in group musical activities and to broaden the repertoire and understanding of music generally. These activities include:

(a) Orchestral rehearsals and performances (b) Choir rehearsals and performances (c) Instrumental or vocal group rehearsals and performances, and

accompaniment Students will have as wide a choice as possible of participating in such classes, rehearsals and performances which seem relevant to them at a given stage of their studies. Students may be directed by the Faculty to concentrate on a particular aspect of ensemble for at least one year (e.g. a pianist may be required to take Keyboard Accompaniment, or a string player may be required to take Chamber Music). Public performances of ensemble work may be accepted for examination purposes. For students who do not wish to participate in this scheme, examinations will be held at the usual time. Experience gained through regular rehearsal in Choir or Orchestra is considered to be important, as are the knowledge of repertoire and critical awareness gained through regular attendance at Chamber Music and Accompanying classes. Performance of early music using early In­struments will be encouraged. Further Information may be found under the relevant headings in the Details of Subjects (Section 4).

Concerts The Faculty organizes a series of free lunch-hour concerts twice a week during the teaching period of each term. Students are encouraged to participate in these concerts.

Choral, orchestral and chamber concerts are held in the evenings as well.

Student Music Week Introduced in 1984, the Students' Music Week is a regular feature of the Faculty's activities in Second Term each year. It is organized by the Music Students' Society with the assistance of the Faculty Concert Manager. It offers students of the Faculty an opportunity for intensive music-making and promotion, and gives people outside the chance to hear something of the range of student activities.

FACILITIES

Library The University Library comprises the Bail lieu Library and fourteen branch libraries in various faculties and departments. The Music library (on the 3rd floor of the Baillieu Library) houses the main holdings in Music and is

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open to students of all faculties. In addition to the usual reference and undergraduate material, the library houses a large Faculty collection of scores and sheet music as well as an extensive orchestral and choral library. A comprehensive record collection and listening carrels are avail­able within the library area for the use of music students.

Instruments A number of instruments are available for hire by music students. Enquiries should be made to the Music librarian. In addition, the Faculty has a collection of early musical instruments which are available for use by students.

Qralnger Museum The Grainger Museum, established and financed by Percy Grainger, was completed in 1938. The building houses a unique collection, the work of a strongly individual and independent artist. Aspects of Grainger's life, his personality and viewpoints are conveyed by many of the exhibits. Items on display include musical Instruments, furniture, clothing, paint­ings, and many other objects and items concerning Grainger, his Inter­ests and associates. The museum's archives Include music (manuscript and published), re­cordings of all types, correspondence, documents, photographs, books, journals and personal items, as well as the archival records of the Royal Victorian Lledertafel and music manuscripts of Professor G. W. L. Marshall-Hall. A booklet, A Guide to the Grainger Museum is available, and the build­ing is open Monday to Friday 10 am to 4 pm (public holidays excepted).

The Electronic Music Studio The Electronic Music Studio was established in 1973 with the aid of a grant from the Gulbenkian Foundation. The original studio has grown to three, a general teaching and composition studio, a synthesizer (digital and analog) laboratory, and the central Control Room linked to Melba Hall for recording of live performances and reproduction of tape compositions in concert. The Studio's equipment includes state-of-the-art mixing and 8-track recording facilities, several composition and performance synthesizers, as well as signal processing equipment, various tape recorders and a Digital Audio Processor.

MUSIC STUDENTS' SOCIETY The Music Students' Society is a student organization which plays a vital part in the life of the Faculty. The Society annually elects a com­mittee which includes yearly representatives on Faculty and the Depart­mental Committee. The Society has three broad objectives:

(a) to liaise between staff and students, (b) to concern Itself with any matter which is of Interest to members

in their study of music, (c) to organize activities (social, musical, etc.) to help provide a

broader outlook on music and education. The Society plays an especially active and important part during "Orientation Week" in advising new students.and introducing them to their new environment, and organizes the annual Student Music Week. Students wishing to play a part in the running of the Society or needing further information, should contact the Music Students' Society, Faculty of Music.

ATTENDANCE AND PARTICIPATION IN COURSES Course Changes Students who wish to change their course, or subjects within a course, or who wish to change their practical study teacher, or change from one class to another, should consult the Associate Dean or Assistant Registrar.

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Part-Time Study No facilities for part-time study are available In the first year of the B.Mus. and B.Mus.Ed. courses. Students wishing to enrol on a part-time basis In later years of these courses should apply to do so during the normal re-enrolment period. No evening lectures are conducted. External Studies It Is not possible to undertake external studies In subjects offered by the Faculty of Music. Re-enrolement Students intending to continue their studies in a degree course will be required to attend at the Faculty during December or January in order to have their course for the following year approved and to obtain an authority to re-enrol. Students must then complete enrolment formalities at the Student Administration Office.

Leave of Absence Students who wish to interrupt their courses should apply to the Faculty for leave of absence, stating reasons for the request. Leave of absence will normally be given for one year only. Applications should be ad­dressed to the Assistant Registrar (Music). A student interrupting a course without having sought leave of absence, may be suspended from the course by the Academic Board on the recommendation of the Faculty. All students who have received official leave of absence will be requested to inform the Assistant Registrar (Music) of their intentions with regard to their course by writing to the office before 30 November of the year prior to the expiration of their leave.

Students must also apply for permission to be absent for shorter periods during the academic year, should such absence be desired.

External Musical Activities Students may participate in any musical activity outside the Faculty of Music only with the written permission of the Dean. Such permission must be gained prior to beginning that outside musical activity.

DIRECTIONS, RESOLUTIONS AND RULES RELATING TO ASSESSMENT Details of the method of assessment appear under individual subject headings. Where different forms of assessment are used within a subject, the relative weighting of essays, assignments, practical work, written or oral examinations or any other form of examination will be posted on Faculty notice-boards at the beginning of the academic year. In particular, students should note that in subjects involving performance, students must have attended and participated in the subject to the satisfaction of the Faculty before being admitted to final assessment. Students are also referred to those subjects where assignments form an integral part of the year's work. The Faculty has determined that Grade Structure A-F be used for pass subjects and H1-N be used for Honours subjects and for subjects which were both pass and honours.

Special Consideration Students whose studies during the year have been interrupted by ill-health or any other serious cause may apply for special consideration in their examinations.

Students who are unsure as to whether they are eligible to apply for special consideration should consult the Assistant Registrar or the Associate Dean of the Faculty. All applications for special consideration should be directed to the Assistant Registrar (Music), as follows:

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(a) If a candidate's studies during the year have been affected by illness or other serious cause the candidate should apply in writing for special consideration supported by a medical certificate or other evidence prior to the commencing date or not later than three (3) days after the conclusion of the relevant examinations.

(b) If a candidate cannot sit for an examination because of illness or other serious cause the candidate should give notice in writing with a medical certificate or other evidence immediately.

(c) If a candidate becomes ill during an examination the candidate should see the examination supervisor and give notice in writing immediately.

Full details of rules concerning special consideration may be found in Regulation 4.3 — Additional Assessment (refer University Calendar).

All application* are treated as confidential.

Special Examinations Special Examinations may be granted under the following circumstances:

1. Where students are physically unable to sit for an examination or a substantial part of that examination, satisfactory medical or other evi­dence Is required. Applications must be made before, or as soon as prac­ticable after the date of the examination. 2. If a candidate is ill during the examination the candidate should report to the supervisor at the examination centre and make an application sup­ported by medical or other evidence within three (3) days of the exam­ination. 3. In cases where students' studies have been so gravely impaired by Illness or other serious cause that they are precluded from doing them­selves justice at the normal examination time, the Faculty may grant them special examinations in February. Such students should make It clear In their application for special consideration that they are apply­ing for special examinations. Strong supporting evidence is necessary. In such cases the application must be made before the commencing date of the annual examination.

Supplementary Examinations Supplementary Examinations may be awarded by the Study Progress Committee in accordance with the Faculty of Music Progress Rules.

Faculty Progress Rules Progress Rules for students enrolled in the Bachelor of Music and Bachelor of Music Education courses are set out below: J. Study Progress The Study Progress Committee acts on behalf of the Faculty of Music in implementing Regulation 2.5 — Unsatisfactory Progress. Where a student fails or is absent from an examination, the Study Progress Committee may, after investigating the circumstances and giving the student concerned an opportunity to be heard,

(a) award supplementary examinations; (b) specify the subjects for which the student may enrol In any

subsequent year; or (c) report its opinion to the Academic Board that the student be

suspended from the course.

2. Supplementary Examinations

The Faculty of Music directs that supplementary examinations may be awarded for each subject in each year of the Bachelor of Music Pass and Honours Degrees and Bachelor of Music Education courses.

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Such examinations will be awarded by the Study Progress Committee if, after reviewing the student's progress in the year as a whole, the Com­mittee is satisfied that:

(a) the examination performance is not too far below the pass mark and

(b) the student has made a serious attempt throughout the year. Supplementary examinations will be awarded in accordance with the above guidelines where:

(a) A failure in one subject will prevent a student from completing the course in minimum time; or

(b) A failure in any one of Music Performance, Composition, Music History or Music Language Studies; or

(c) A failure in one of Music Performance, Composition, Music History or Music Language Studies, and one other subject of the course; or

(d) failure in any other two subjects of the course.

3. Leave of Absence The final date for the submission of applications for leave of absence Is the last day of second term in each academic year. Thereafter the result grade "ABS" (absent) will be recorded against the appropriate subjects in. official records except where, with special approval of the Faculty of Music, individual applicants are exempted from the foregoing prescription.

4. Unsatisfactory Progress The progress of a student will be deemed to be unsatisfactory if the student:

(a) fails three or more subjects in the one year; (b) fails any two of Music Performance, Composition, Music History

or Music Language Studies in the one year; (c) fails any subject twice; (d) fails two subjects in each of successive years; (e) as a part-time student fails more than 50% of the subjects

entered for in any one year; or (f) having failed to achieve a satisfactory result in any Music Per­

formance subject, is unlikely in the opinion of the examiners to reach the level of proficiency required for that subject.

Such a student will be given an opportunity to be heard by the Study Progress Committee. If the student does not satisfy that Committee of his/her capacity to pass if permitted to continue the course, that student shall be recommended to the Academic Board for suspension from the course.

5. Course Progress No student shall proceed to the third year of the course before passing all subjects of the first year nor to the fourth year before passing all subjects of the second year.

Rules for Unsatisfactory Progress Rules for unsatisfactory progress, as revised or reaffirmed as the result of a review, will be placed on Faculty notice-boards prior to the commencement of the first teaching term in 1987.

DIRECTIONS TO EXAMINERS RELATING TO ASSESSMENT Directions of the Academic Board pursuant to regulation 4.2.1

Directions of the Academic Board Pursuant to Regulation 4.2.7(3) For both set of Directions see the Appendix in the Student Diary.

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SECTION 3 :

REGULATIONS FOR MUSIC DEGREES REGULATION 3.56 — DEGREE OF BACHELOR OF MUSIC

1. The degree of bachelor of Music may be conferred either as an ordinary degree or as a degree with honours. 2. Candidates for the degree shall, subsequently to their matriculation, pursue their studies for four years, attend such lectures and classes, perform such practical work and pass such examinations as may be prescribed.

3. (1) A candidate shall, at the beginning of the First Year, secure the approval of the faculty of Music for the proposed choice of sub­jects and parts of subjects and the order of the candidate's course. Any subsequent alteration in the course of study must be approved by the faculty.

(2) A candidate shall, at the beginning of each year of study there­after, secure approval from the faculty for the subjects and parts of subjects selected for study by the candidate in that year.

4. The subjects and parts of subjects of the course for the ordinary degree and for the course for the degree with honours and the conditions on which such subjects or parts of subjects may be taken shall be as prescribed from time to time by the Academic Board on the recommenda­tion of the faculty and published with the details of subjects.

5. When in any year a candidate passes in some only of the subjects of the year, he or she shall be entitled to credit for such subjects. A candidate may, in any subsequent year, present for the subjects not passed either by themselves or together with such subjects of the next year of the course as the faculty may approve.

6. In lieu of passing in a subject as prescribed for the ordinary degree, the candidate may enrol and enter for and be classed at the examination in that subject in the course for the degree with honours but shall not be included in the final honours class list. A candidate who has so enrolled and entered for examination may compete for the exhibition in a subject in accordance with the conditions prescribed.

7. A candidate may be admitted to the ordinary degree who has — (a) passed at the examinations in the subjects of each year of the

course in the manner prescribed; and (b) complied in all other respects with this regulation.

8. (1) A candidate for the degree of bachelor of Music with Honours shall —

(a) complete the work and pass the examinations of the four years of the course at a standard and in the manner pre­scribed by the faculty; and

(b) complete to the satisfaction of the faculty such additional studies as the Academic Board, on the recommendation of the faculty, shall prescribe and publish with the details of subjects.

(2) A candidate who has fulfilled the requirements of subsection (1) hereof may be admitted to the degree of bachelor of Music with Honours.

9. When a candidate has completed any portion of either a course for the ordinary degree or a course for the degree with honours and wishes to transfer to either course or to the course for the degree of bachelor of Music Education, the faculty may determine to what status the candidate will be admitted in the course to which he or she wishes to transfer.

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10. For physical incapacity or disability or for other good cause shown the faculty may allow a candidate to omit any subject from either of the courses herein prescribed and may prescribe, in substitution for the subject so omitted, such subject or subjects as the faculty may consider appropriate.

[TEMPORARY REGULATION 1. A candidate who has obtained credit for any subject or subjects of the course for the degree of bachelor of Music before 31st March 1980, may complete the course under the regulations in force on 30th. June 1979. 2. This temporary regulation shall expire on 31st December 1986.]

REGULATION 3.56A — DEGREE OF BACHELOR OF MUSIC EDUCATION

1. Candidates for the degree of bachelor of Music Education shall sub­sequently to their matriculation pursue their studies for four years, attend such lectures and classes and perform such practical work as may be prescribed by the Faculty of Music after consultation where relevant with the faculty of Education, pass the prescribed examinations and otherwise comply with the conditions of this regulation.

2. When In any Year a candidate passes in some only of the subjects of the Year he shall be entitled to credit for such subjects. The subjects not passed may be presented in any subsequent year either by them­selves or along with such subjects of the next year of the course as the faculty may permit.

3.. The subjects of the pass and honour examinations of the various years of the course shall be as prescribed from time to time by the Academic Board on the recommendation of the faculty and published with the details of subjects.

4. (1) The provisions of sections 9 and 10 of Regulation 3.56 shall apply, the necessary changes being made to candidates for the degree of bachelor of Music Education.

(2) A candidate who has completed any portion of the course for the degree of bachelor of Music or the degree of bachelor of Music with Honours may be admitted to the course for the degree of bachelor of Music Education with such status as the faculty may determine.

REGULATION 3.63 — DEGREE OF MASTER OF MUSIC

1. (1) There shall be a degree of master of Music. (2) An applicant for admission to candidature for the degree shall —

(a) have graduated or qualified to graduate as a bachelor of Music with Honours; or

(b) (i) (x) have graduated or qualified to graduate as a bachelor of Music or a bachelor of Music Education; or

(y) be a graduate in Music of another university or ter­tiary educational institution whose degree is recog­nized by the faculty of Music ("the faculty") pursuant to Regulation 3.3.1 as appropriate for the purposes of this regulation; or

(z) hold a qualification in Music deemed by the faculty to be the equivalent of the degree referred to in (a) and thereby satisfy the faculty pursuant to Regulation 3.3.1 that the applicant has had adequate training and has the ability to pursue the course; and

(ii) where required by the faculty, undertake to the satisfac­tion of the faculty, such preliminary courses of study

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and assessment as may be prescribed by the faculty in the case of that applicant.

(3) An applicant who is eligible for admission to candidature pursuant to sub-section (2)(a) or (2)(b)(i) and has where required complied with (2)(b)(ii) may with the consent of the faculty be admitted to candidature for the degree of master of Music.

2. A person undertaking a course of preliminary study or research as required by the faculty pursuant to paragraph (b) sub-paragraph (ii) of section 1 shall unless excused by the faculty — (a) if studying lull-time, complete that course within one year of

its commencement; or (b) if studying part-time complete that course within two years of

its commencement.

3. Before commencing the course for the degree a candidate shall obtain the approval of the faculty for the course of study or research proposed by the candidate and shall obtain the approval of the faculty for any subsequent change in such course.

4. A person engaged in another regular occupation which, In the opinion of the faculty, allows the person sufficient time to pursue the studies required, or who is a member of the University staff, may be accepted as a part-time candidate for the degree.

4A. Except where the faculty otherwise determines — (1) A candidate shall engage in a course of study and research and

shall — (a) if studying full-time complete that course within a minimum

of one and a maximum of two academic years; (b) if studying part-time complete that course within a minimum

of two and a maximum of four academic years. (2) Any period spent in undertaking a preliminary course of study

and assessment pursuant to section 1(2)(b)(ii) before admission to candidature shall not be counted for the purpose of sub­section (1) hereof.

5. (1) Each candidate shall present to the satisfaction of the dean or a person nominated by the dean at least one lecture or lec­ture recital during candidature.

(2) A candidate who has — (a) (i) engaged in research and submitted within the time

prescribed a thesis satisfactory to the examiners em­bodying the result of such research or an edition of a significant music work together with a dissertation thereon which is satisfactory to the examiners, or

(ii) given, to the satisfaction of the examiners, the number prescribed by the faculty of public performances of programmes of substantial musical works approved by the faculty and has passed such examination as the faculty may prescribe, or

(iii) prepared to the satisfaction of the examiners a folio of compositions approved by the faculty and a folio of analysis of a number of major works approved by the faculty together with commentaries thereon;

(b) completed to the satisfaction of the examiners a post­graduate course of advanced studies in a field prescribed by the faculty;

(c) where required, satisfied the examiners at an oral examina­tion related to the course undertaken by the candidate; and

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(d) complied in all other respects with this regulation; may be admitted to the degree of master of Music.

(3) A candidate who is eligible for admission to the degree pursuant to this section may, where the examiners so certify, be awarded the degree with honours.

6. (1) A candidate may not submit for examination work in respect of which the candidate has already qualified for a degree In a university or for a qualification equivalent to such degree or without the permission of the faculty work which the candidate has previously submitted for any such degree or equivalent qualification.

(2) Subject to this section the provisions of Regulation 4.6.2* shall apply to the submission of work by candidates for examination.

DOCTOR OF PHILOSOPHY |This degree is awarded by the University. For details see the Calendar, Regulation 3.60).

REGULATION 3.57 — D E G R E E OF DOCTOR OF MUSIC 1. (1) A person may be admitted to candidature for the degree of doctor

of Music who — (a) is a graduate in the faculty of Music:

or (b) holds a degree, whether in this University or in any other

university or institution, which degree is recognized by the faculty pursuant to Regulation 3.3.1 as appropriate for the purposes of this regulation;

in every case of not less than five years' standing from first qualifying to graduate.

(2) A person shall not be admitted to candidature pursuant to paragraph (b) of sub-section (1) unless the person satisfies the faculty of Music that he or she has attained an appropriate academic standing as a composer of music or as a scholar of music.

2. Candidates may present themselves for examinal'on in either or both of two schools, namely—

(A) Composition: an original work for orchestra with or without solo­ists, or for orchestra and chorus with or without soloists, or a series of works which together would constitute a major contribution to music;

(B) Theory History and Aesthetics of Music; original essays or other evidence of original research. 3. Candidates must satisfy the faculty as to their ability as composers in school (A) and so to their musical scholarship in school (B) before being admitted to the examination. 4. For the purpose of the examination of candidates under section 2, examiners shall be nominated by the faculty, and candidates who have satisfied the examin­ers in either or both of the abovementioned schools and who have fulfilled the other conditions hereinbefore prescribed may be admitted to the degree of doctor of Music.

* See the provisions of Regulation 4.4 2. Regulation 4 6 was replaced by new Regulation 4 4. enacted 1/1/83

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SECTION 4:

DETAILS OF SUBJECTS - UNDERGRADUATE DEGREES DEGREE OF BACHELOR OF MUSIC

Th© subjects of the pass and honours examinations of the several years of the course shall be as set out below.

First Year 740-102 Aural Training 1 / ; 740-111 Music History 1A 740-113 Music Language Studies 1 740-115 Ensemble 1 ) 740-116 Music Performance 1

Modern Languages (Vocal Students)-

A subject in another Faculty

Second Year 740-112 Acoustics 740-202 Aural Training 2 740-211 Music History 2A 740-213 Music Language Studies 2 740-214 Composition — Small Ensembles" 740-215 Ensemble 2 740-216 Music Performance 2 "

Modern Languages (Vocal Students)-

Third Year 740-311 Music History 3A 740-313 Music Language Studies 3

Either 740-316 Music Performance 3 or 740-314 Composition — Electronic Music

740-315 Ensemble 3 * Modern Languages (Vocal Students)-

Fourth Year Either 740-411 Music History 4A

or 740-416 Music Performance 4 or 740-414 Composition — Instrumental and Vocal

740-412 Electives-"" 740-415 Ensemble 4

Modern Languages (Vocal Students)-

All students should note the following: Students undertaking Bachelor of Music may. with approval, take a subject in another faculty in Second Year, in which case 740-112 Acoustics will normally be taken in First Year. Subjects of the B.Mus. course which are offered at Honours level are listed under the B.Mus.(Honours degree). Students enrolled for the pass degree may, with approval, enrol in individual subjects at Honours level. Except in the case of 740-271 Music History 2A (Honours), admission will normally be based on the gaining of an A result in the relevant subject of the preceding year.

Composition students should note the following: Students wishing to enrol in Composition in Second Year should attend the Creative Studies course in First Year during Third Term. Admission to 740-214 Composition — Small Ensembles will normally be based on participation in this course.

• For coae numbers see Demi's of Sheets •' Students are required to undertake either 740-214 (Composition — Small Ensembles) or 740-216 (Music Performance

2). Permission must be obtained if a student wishes to undertake both these subjects. ••• Students taking 740-416 (Music Pertormance 4) or 740-4 14 (Composition — Instrumental and Vocal) may take 740-4 n

(Music History 4A) in lieu of the Electives

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In Second Year, students may include their own compositions in their programme for the Music Performance 2 examination during the Novem­ber examination period.

Vocal students should note the following: For students whose practical study is singing the following changes to the course outline above apply:

First Year Vocal students are required to enrol in Modern Languages in addition to the subjects listed. For their Ensemble the Dean will normally direct students to take group piano or keyboard accompaniment.

Second Year Vocal students are required to enrol in Modern Languages in addition to the subjects listed and with the permission of the Dean may enrol in 740-016 Music Performance 1A (Pianoforte) subject to places being available within the quota. This subject does not count towards the degree.

Third and Fourth Years In one of these years vocal students are required to enrol in Modern Lan­guages.

MUSIC THERAPY: Students taking the Bachelor of Music course with a view to training as music therapists should enrol in the subjects set out below: First Year

Aural Training 1 Music History 1A Music Language Studies 1 Ensemble 1 Music Performance 1 Psychology 1

740-102 740-111 740-113 740-115 740-116 171-100

Second Year 740-202 740-211 740-213 740-215 740-216 740-226 171-200

Third Year 740-311 740-313 740-315 740-316 740-326 740-332 760-005

Fourth Year Either

or 740-401 740-416 740-112 740-415 740-432 740-433

Aural Training 2 Music History 2A Music Language Studies 2 Ensemble 2 Music Performance 2 Group Music Performance 1 Psychology 2A

Music History 3A Music Language Studies 3 Ensemble 3 Music Performance 3 Group Music Performance 2 Introduction to Music Therapy Human Growth and Development

Music History 4B Music Performance 4 Acoustics Ensemble 4 Clinical Practice in Music Therapy Curriculum Studies in Music Therapy

BACHELOR OF MUSIC (HONOURS DEGREE) The degree of Bachelor of Music (Honours) will be awarded to students who have reached a satisfactory level of honours in the required subjects listed below. Admission to the honours degree will normally be at the commencement of the Third Year, and will normally be limited to students

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who have attained the following results in year two of the course: A in 740-213 Music Language Studies 2. and A in either 740-216 Music Performance 2, or 740-214 Composition — Small Ensembles, and either A in 740-211 Music History 2A or at least H2A in 740-271 Music History 2A (Honours),

Intending honours students are expected to take 740-271 Music History 2A (Honours) in the Second Year.

For admission to the fourth year of the honours course students must have achieved a mark of at least H2A level in the previous year in 740-371 Music History 3A (Honours), and any one of the following:

— at least H2A level in 740-376 Music Performance 3 (Honours), or — at least H2A level in 740-374 Composition — Electronic Music (Honours),

or — an A in 740-313 in Music Language Studies 3.

Specifically, students must have normally achieved: — an A in 740-313 Music Language Studies 3, to enrol in 740-471 Music

History 4A (Honours); — at least H2A in 740-374 Composition — Electronic Music (Honours), to

enrol in 740-474 Composition — Instrumental and Vocal (Honours); — at least H2A in 740-376 (Music Performance 3 (Honours), to enrol in 740-

476 Music Performance 4 (Honours). The ranking order for the award of an honours degree is established on the basis of the average mark of:.

— Electives; — the thesis comprising Musicology (Hons);

and — the speciality (either Music History, Performance or Composition).

Third Year 740-371 Music History 3A (Hons) 740-313 Music Language Studies 3

Either 740-376 Music Performance 3 (Hons) or 740-374 Composition — Electronic Music (Hons)

740-315 Ensemble 3 Fourth Year .

740-412 Electives S j ^ 740-413 Music Language Studies 4 I '4' 740-415 Ensemble 4 / \

Either 740-471 Music History 4A (Hons) iJ- / or 740-476 Music Performance 4 (Hons) •

A or 740-474 Composition — Instrumental and Vocal (Hons) 740-472 Musicology (Hons.) /

Composition, Vocal, and Music Therapy students should note the special requirements for their respective courses listed under the ordinary degree.

DEGREE OF BACHELOR OF MUSIC EDUCATION The subjects of the pass examinations of the several years of the course shall be as set out below. ~.

First Year 740-102 Aural Training 1 740-111 Music History 1A 740-112 Acoustics 740-113 Music Language Studies 1 740-115 Ensemble 1 740-116 Music Performance 1

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Second Year 740-202 Aural Training 2 740-211 Music History 2A (Pass) or 740-271 Music History 2A (Hons) 740-213 Music Language Studies 2 740-215 Ensemble 2 740-216 Music Performance 2 740-226 Group Music Performance 1 720-022 Philosophy of Education M

Third Year 740-311 Music History 3A (Pass) or 740-371 Music History 2A (Hons) 740-313 Music Language Studies 3 740-315 Ensemble 3 740-326 Group Music Performance 2 740-339 Introduction to Teaching

720-033 Educational Psychology M

Fourth Year 740-401 Music History 4B (Pass) or 740-461 Music History 4B (Hons) 740-415 Ensemble 4 720-044 Sociology of Education M 720-045 Curriculum Studies 720-046 School Practice

Students should note the following: Where a subject is offered at Honours level, admission will normally be based on a result of A in a pass subject of the preceding year, or at least H2A in an Honours subject of the preceding year. Where a student obtains a result of A in 740-216 Music Performance 2, permis­sion may be given for that student to enrol in 740-376 Music Performance 3 (Hons) in Third Year. The subject will not count towards the degree.

Students whose practical study is singing may elect to study the Modern Languages subjects required for vocal students in the B.Mus. course. Vocal students will normally be directed by the Dean to take group piano or keyboard accompaniment as their Ensemble and may be granted permission to enrol for 740-016 Music Performance 1A (Pianoforte) in Second Year subject to places being available within the quota. Students enrolled for B.Mus.Ed. who wish to undertake Composition studies may, with special approval, enrol for 740-214 Composition — Small Ensembles in Third Year.

SUBJECTS

740-112 ACOUSTICS

A subject of two lectures per week throughout first term.

SYLLABUS A selection will be made from the following topics: Basic concepts of acoustics: periodic motion, wave motion. Wave pro­pagation, interference, beats, stationary waves. Forced vibration and resonance. Vibration of strings, air columns and other systems. Loudness: musical dynamics, masking. Pitch: perception, fundamental tracking, role of harmonics. Quality. Physiological acoustics: the ear, the voice. Application of acoustical principles to music: architectural acoustics.

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Intervals, scales and temperament. Quasi-stationary sounds: piano, clavichord, harpsichord. Bowed strings: the violin family. Woodwinds: flute, oboe and clarinet families. Brass family, organ pipes. Percussion.

ASSESSMENT Students who have completed a first year tertiary course in physics should consult the lecturer at the commencement of the subject as regards exemption from first term's lectures and to make arrangements for alternative studies as laid down in guidelines by the Faculty of Music. One 2-hour paper at the beginning of second term.

740-102 AURAL TRAINING 1 A course of two hours per week throughout the year, and the completion of a taped course in music dictation.

SYLLABUS: Students will be expected to become familiar with tonic sol-fa symbols and handsigns as used in the Kodaly system of music education. The course will concentrate on:

(i) the developing of aural skills involving intervals and triads occurring in major and minor scales; pentatonic scales;

(ii) the development of musical memory, leading to melodic, rhythmic and two-part dictation;

(iii) the recognition of simple forms and cadences; (iv) sight singing and rhythm reading.

ASSESSMENT A one-hour dictation test and a short practical reading test during the November examination period. Students must complete the taped course in music dictation before being admitted to the end-of-year tests.

740-202 AURAL TRAINING 2 A course of two hours per week throughout the year.

SYLLABUS: A continuation of the work begun in first year, using more advanced techniques. The developing of:

(i) awareness of modality, and the intervals and triads involved in the various modes;

(ii) aural skills involving triadic functions within major, minor and modal tonality, chords of the seventh, chromatic chords and secondary dominants.

(iii) musical memory leading to dictation of chord progressions and more advanced melodic and rhythmic dictation.

(iv) more advanced skills in sight singing and rhythm reading.

ASSESSMENT

1. A one-hour dictation test. 2. A short practical reading test.

740-432 CLINICAL PRACTICE IN MUSIC THERAPY A subject comprising 3 hours per week throughout the year, consisting of lectures, tutorials and demonstrations to be given at:

Mount Royal Hospital Royal Children's Hospital Larundel Hospital Caulfield Hospital Children's Cottages, Kew

29

Students will attend these sessions on one day per week. Lectures and video­tapes will normally be followed by 1 V2 to 2 hours of discussion and observation.

SYLLABUS (Students will be notified of the order of the hospital visits at the com­mencement of the academic year).

Mount Royal Hospital (9 sessions) Emotional and neurological conditions of the aged. Royal Children's Hospital (6 sessions) Normal and handicapped children. Larundel Hospital (7 sessions) Introduction to Psychiatry. Caulfield Hospital (3 sessions) Multidisciplinary approach to adult rehabilitation. Children's Cottages (6 sessions)

Multidisciplinary approach to handicapped child management.

ASSESSMENT Assessment will be under the supervision of the Music Therapy lecturer appointed by the Faculty of Music, who will consult with the teachers in the various hospitals. Students will submit five assignments of 1,000-2,000 words each, during the year. The presentation of an observation book containing relevant comments on therapy sessions seen in each of the five agencies visited is required. Before being admitted to final assessment in the subject, students must have attended and participated in the prescribed hospital sessions to the satisfaction of the Faculty.

COMPOSITION STUDIES GENERAL INFORMATION No student will be permitted to enrol in Composition without having satisfied the Faculty of an ability to carry out the appropriate subjects. Admission will be made on the following basis:

(i) Following completion of the Creative Studies course in third term of Year One.

(ii) As a substitute for Music Performance in Second, Third and Fourth Years of the course.

(iii) By special permission only in the B.Mus.Ed. course. (iv) Composition — Instrumental and Vocal cannot be taken until Com­

position — Small Ensembles has been completed.

740-214 COMPOSITION —SMALL ENSEMBLES A series of seminars and tutorials throughout the year of two hours per week.

SYLLABUS Students will study traditional composition techniques for solo instru­ments, voice, chamber ensembles and string orchestra. They will be expected to develop a critical awareness of their own style of composi­tion in relation to the overall developments of the art and the present trends. Because the process of musical composition is a form of imagina­tive invention, students will not be necessarily obliged to accept any method leading towards imitation of existing styles. In meeting the objectives outlined, students will (in consultation with the teacher) choose from the areas listed a course designed to meet their particular interests and needs and approved by the Faculty not later than the end of the first term.

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ASSESSMENT Assessment will be on a folio of works composed during the year. The number and nature of the works will be determined and approved together with the course of study and must be presented by the first day of Fourth Term.

740-314 COMPOSITION — ELECTRONIC MUSIC A series of tutorials and seminars of two hours per week and four hours of laboratory work per'week in the electronic music studio throughout the year (this being equivalent to private study). Students will be asked to enrol in either Composition — Small Ensembles or Composition — Electronic Music for their first year of composition studies.

SYLLABUS In addition to a further study of traditional music composition techniques, as required, students will make a special study of electronic music. The details of the choice and approval of course as for Composition — Small Ensembles. ASSESSMENT Assessment will be on a folio of works composed during the year. The number and nature of the works will be determined and approved together with the course of study.

740-374 COMPOSITION — ELECTRONIC MUSIC (HONOURS) In addition to the requirements for the Pass subject, a seminar of one hour per week in second and third terms, in which electronic techniques will be considered in greater detail and a broader range of styles will be studied. Students must normally have gained an A in 740-214 Composition — Small Ensembles to enrol in this subject.

ASSESSMENT As for Composition — Electronic Music, but with a more substantial folio of works.

740-414 COMPOSITION —INSTRUMENTAL AND VOCAL A series of study seminars of two hours per week throughout the year. All students will be expected to show competence in all the areas of composition so far studied and will also be expected to write a sub­stantial piece of music which includes the full orchestra. Students will, normally be expected to have passed Composition — Small Ensembles and Composition — Electronic Music before presenting for Composition — Instrumental and Vocal. The details of the choice and approval of the topics as for Composition — Small Ensembles.

ASSESSMENT Assessment will be on a folio of works composed during the year. The number and nature of the works will be determined and approved together with the course of study.

740-474 COMPOSITION — INSTRUMENTAL AND VOCAL (HONOURS)

In addition to the requirements for the Pass subject, a seminar of one hour per week in second and third terms, in which more detailed study of instrumental, vocal and electronic techniques involving a broader range of compositional styles will be studied. Music in the theatre, multi-media techniques and computer music will be investigated. Students must normally have gained either an A in 740-314 Composition — Electronic Music or at least H2A in 740-374 Composition — Electronic Music (Honours) to enrol in this subject.

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ASSESSMENT As for Composition — Instrumental and Vocal, but with a more substantial folio of works.

720-045 CURRICULUM STUDIES Approximately 50 lectures and workshops throughout the year.

SYLLABUS The subject will consist of an examination of the principles of curriculum planning, teaching methodology, testing and evaluation. Such areas as classroom technique; conducting: arranging; creative workshops, working with tape recorders; the organization of extra-curricula activities, and designing a course for junior secondary music will be emphasised. Students will normally study methods of teaching general classroom music. However, students with a strong background (with the exception of piano or organ) in instrumental music may be permitted to study methods of instrumental teaching. ASSESSMENT Students will be required to reach a satisfactory standard in all course work and participation in workshops.

740-433 CURRICULUM STUDIES IN MUSIC THERAPY A subject comprising approximately 60 lectures, seminars, tutorials and workshops throughout the year. SYLLABUS Methods and techniques used in music therapy programmes will be examined, including keyboard harmonisation of melodies; transposition; atonal and tonal improvisation at the keyboard; book reviews; composi­tion of original songs; guided imagery, and seminars in professional development.

ASSESSMENT Students will be required to compile a folio of songs appropriate'to all age groups, and to participate throughout the year in practical demonstra­tions to the satisfaction of the Faculty. A 30 minute viva voce examination of methods, techniques and the song repertoire, on an accompanying instrument, at the end of the year.

720-033 EDUCATIONAL PSYCHOLOGY M A subject covering approximately 50 hours of lectures, tutorials and seminars. SYLLABUS The topics of the course are as follows: 1. Social psychology of education (Term 1) 2. Child and adolescent psychology and cognitive psychology (Term 2) 3. Learning, assessment and individual differences (Term 3) ASSESSMENT All the above topics will be independently assessed. The assessment may comprise an essay of about 2.500 words, or a written assignment, or an uxamination. or an examination and an assignment.

740-412 ELECTIVES A course throughout the year in one of the following:— (a) Any two of the subjects under "Electives".

(Lectures or tutorials of one hour per week in each subject chosen.) (b) Music History 4A.

Note: Insufficient enrolment may be a ground for suspending an optional subject.

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ASSESSMENT Where appropriate, students must have attended and participated in the course to the satisfaction of the Faculty before being admitted to final assessment. Assessment under (a) and (b) will be according to that detailed in the appropriate handbook entry.

CHURCH MUSIC IN ENGLAND A seminar of one hour per week throughout the year.

SYLLABUS A course designed to examine the finest choral church music composed and per­formed in England from about 1500 to the present century. Both Latin church music of the Renaissance, and all important foreign and secular influences will be investigated.

ASSESSMENT 1. Two assignments of not more than 2,000 words each during the year, one of which may involve transcription from late Renaissance vocal notation. The marks for these two assignments must average a pass before a student can be admitted to the second part of the assessment.

2. One 3-hour examination paper at the end of the year. The final mark for the subject will be determined wholly by (2).

THE 1890's A seminar or lecture of one hour per week throughout the year.

SYLLABUS This elective will examine selected works dated from the 1890's, drawing oc­casional conclusions concerning such issues as nationalism in music and musicians. The expansion/contraction/disintegration evident in various musical parameters, new approaches to the setting of texts, the relation of music to the other arts and to prevailing politico-economic circumstances. It is expected that the course will concentrate on an examination of the output of a small number of the following composers: Tchaikovsky, Rakmaninov. Rimsky-Korsakov, Brahms. Dvorak, Verdi, Schoen-berg, Puccini, Elgar, Richard Strauss, Mahler, Debussy, Ravel, Faure, Chabrier, Sate, Reger, Albeniz. Grieg. Saint-Saens, Macdowell. Ives, Balakirev, Wolf, Skryabin.

ASSESSMENT One seminar paper of approximately 2.000 words, and one 2 hour examination at the end of the year.

THE IBERIAN RENAISSANCE

A seminar or lecture of one hour per week throughout the year.

SYLLABUS An examination of Spanish and Portuguese music from the late 14th century until the early 17th century. The course will examine the nexus between Aragon and the European mainstream during the Avignonese Papacy, the emergence of a distinctly Hispanic style in the 15th century cancioneros and the rich, influential reperterory of sacred, secular and instrumental music from the Golden Age of Spanish Empire.

ASSESSMENT 1. Two essays of not more than 3000 words each. 2. One class paper of 40 minutes.

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MUSIC ANALYSIS Students may choose either Music Analysis A or B.

Please note: In any given year a particular area of the syllabus may be given special emphasis.

MUSIC ANALYSIS A A seminar of one hour per week throughout the year.

SYLLABUS This is a course designed to examine major techniques of analysis in the 20th century. 1(a) Schenkerian Theory and Analysis (Tonal Music). 1(b) Extensions of Schenkerian Theory (Pre-tonal and Atonal Music). 2(a) Set Theory applied to Atonal Music. 2(b) Serial Music Theory and Analysis.

ASSESSMENT (a) One seminar paper (40 minutes duration). (b) Two analyses, each of a complete short piece, a movement from a larger

work, or (in special cases) a partial analysis of a complete work. (c) An examination in the form of a take-away paper set individually for each

student. This would comprise either a further (but more extensive) analysis, or a theoretical essay of between 3,500 and 5,000 words.

MUSIC ANALYSIS B A seminar of one hour per week throughout the year.

SYLLABUS This is a course designed to examine major techniques of analysis in the 20th century. 1(a) Thematic Analysis: The Techniques of Schoenberg, Reti and Keller. 1 (b) Precursors of Thematic Analysis (18th Century Phrase Analysis). 2 Structuralist and Semiotic Approaches to Music Analysis.

ASSESSMENT (a) One seminar paper (40 minutes duration). (b) Two analyses, each of a complete short piece, a movement from a larger

work, or (in special cases) a partial analysis of a complete work. (c) An examination in the form of a take-away paper set individually for each

student. This would comprise either a further (but more extensive) analysis, or a theoretical essay of between 3,500 and 5,000 words.

MUSIC IN AUSTRALIA A course of one lecture of one hour per week throughout the year.

SYLLABUS The evolution of music in Australia from Settlement to the present day. An examination of:

(i) the musical activities in the period Settlement to Federation (ii) the development of creative music to 1945 (iii) the "coming of age" of Australian composition 1945 to present day (iv) the influences of institutions and organizations such as the Australian Broad­

casting Corporation. Musica Viva, various University music departments, and federal and state committees and boards created to develop and fund music in Australia.

ASSESSMENT Two assignments of not more than 3,000 words each due by the first day of Fourth Term and a 3-hour examination at the end of the year.

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THE MUSIC OF BEETHOVEN A seminar or lecture of one hour per week throughout the year.

SYLLABUS

A critical and chronological study of the works of Beethoven.

ASSESSMENT One essay of about 3,000 words. One 3-hour written paper at the end of the year.

MUSIC OUTSIDE THE WESTERN TRADITION A seminar of one hour per week throughout the year.

SYLLABUS A survey of Music outside the Western Tradition. The origins of music as seen through primitive music cultures. The basic differences between this form and European music. The principles of Ethnomusicology. The music of Japan, China, South East Asia, India, Indonesia, Africa, the Middle East and the Americas.

ASSESSMENT 1. Up to two seminar papers or essays will be set during the year. 2. One 3-hour written paper at the end of the year.

PURCELL, HANDEL and BACH: THREE STUDIES IN BAROQUE DRAMATIC MUSIC A seminar of one hour per week throughout the year.

SYLLABUS This course will examine in detail select theatre music of Purcell in the first term, dramatic oratorios of Handel in the second term, and sacred cantatas of Bach in the third term. Of particular concern will be the way in which these bodies of music synthesise characteristics of Italian and French operatic styles.

ASSESSMENT Three assignments of not more than 1,500 words each. One 3-hour examination at the end of the year.

A Pass must be averaged in the assignments before a result can be recorded. Final assessment for the subject is determined wholly by the examination paper.

RENAISSANCE INSTRUMENTAL MUSIC A seminar or lecture of one hour per week throughout the year. SYLLABUS A study of instrumental music to about 1620 principally for lute and keyboard instruments, but also for other wind and string instruments with a significant extant literature. The course examines sources and styles from Italy, France, Germany, Spain, England and the Netherlands and investigates theoretical cour­ses that document improvisation, embellishment and other performance prac­tices of the period. ASSESSMENT 1. Two essays of not more than 3,000 words each. 2. One class paper of 40 minutes.

THE SYMPHONY IN THE 19TH CENTURY A course of one seminar or lecture of one hour per week throughout the year. SYLLABUS A study of the development of the Symphony from Beethoven to Mahler. ASSESSMENT One essay of about 3,000 words. One 3-hour written paper at the end of the year.

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MUSIC AND TECHNOLOGY A seminar of one hour per week throughout the year. SYLLABUS A critical study of the influences of technology on musical thinking and practice including the application of digital computers to solving musical problems. Topics include: Historical: The impact of technology (particularly digital)

on past musical practice Philosophical: The implication of technological change on

music and musicians Practical: A case study in the application of programming

ASSESSMENT t 0 m u s ' c a ' creation and analysis 1. One assignment of approximately 3,000 words or equivalent. 2. Class papers.

3. One 1 -hour examination on the computer at the end of the year.

ENSEMBLE The subject Ensemble seeks to develop those skills that are essential in making music with others while building a knowledge of the repertory of orchestral, choral and chamber music through the invaluable experience of communal perfor­mance. Each Ensemble study will be directed by a member of staff, and the subject will entail not more than three hours contact per week. To satisfy the re­quirements of this subject, all students shall either play in the Faculty Orchestra, or sing in the Faculty Choir participating in such rehearsals and performances re­gularly throughout the year as shall be prescribed by the Faculty. Participation in the Faculty Orchestra shall account for the entire requirement of the subject. Those students who sing in the Faculty Choir shall complete their three hours contact for this subject by enrolling in a second Ensemble study selected from the list below. The Dean may direct which Ensemble studies a student shall pursue. Students may enrol in one additional optional Ensemble study with the approval of the Dean. In the area of ensemble-performance, the first responsibility of every student of the Faculty lies with the Faculty Ensemble subject(s) of which he or she is a mem­ber. ADDITIONAL ENSEMBLE OPTIONS

Chamber Music iv Percussion Keyboard Accompaniment v Improvisation Early Music vi Small instrumental or vocal groups

740-115 ENSEMBLE 1 A subject in Year One of not more than 3 hours per week.

SYLLABUS

Participation in Ensemble activity as detailed above.

ASSESSMENT Satisfactory regular attendance at rehearsals throughout the year, and participa­tion in all performances of the Ensemble(s) in which the student is enrolled. No student may participate in a performance without having completed satisfactory and regular attendance at rehearsals.

740-215 ENSEMBLE 2 A subject in Year Two of not more than 3 hours per week.

SYLLABUS and ASSESSMENT As for Ensemble 1.

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740-315 ENSEMBLE 3 A subject in Year Three of not more than 3 hours per week.

SYLLABUS and ASSESSMENT As for Ensemble 1.

740-415 ENSEMBLE 4 A subject in Year Four of not more than 3 hours per week.

SYLLABUS and ASSESSMENT As for Ensemble 1.

740-226 GROUP MUSIC PERFORMANCE 1 A subject in Year Two of 2 hours per week in which group teaching methods in music are introduced. This will include a study of the Orff and Dalcroze approaches in music education. There will be practical experience in workshops at levels suitable for teaching in:

Percussion (Orff-type instruments) Music and Movement Vocal activities Keyboard Musicianship Recorder groups

ASSESSMENT Participation in and attendance at Workshop activities and Keyboard Musicianship.

740-326 GROUP MUSIC PERFORMANCE 2 A subject in Year Three of 2 hours per week in any one of the following workshop activities begun in Group Music Performance 1:

Percussion (Orff activities) Dalcroze music and movement Kodaly choral method

Works will be prepared suitable for the concert platform and performed in an artistic and stylistically authoritative manner.

Where student enrolment in any one of the three workshop areas does not exceed four, this area may be cancelled at the discretion of the Faculty after consultation with the lecturer.

ASSESSMENT A practical test in the last week of the third teaching term involving group and individual activities.

760-005 HUMAN GROWTH AND DEVELOPMENT Note: This subject is offered through the Department of Social Studies to students undertaking studies in Music Therapy. A study over two terms of the social biology of the life span changes. This programme will be studied through lectures, small group discussion and self-directed learning on a contractual basis. Theories explain­ing adaptations during growth from conception to old age will be studied in relation to health care practice, the prevention and treatment of illness and the promotion of health. Particular attention will be given to con­troversial social issues associated with particular stages of development in the life span.

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ASSESSMENT Assignment of 2,500 words.

740-332 INTRODUCTION TO MUSIC THERAPY This subject will consist of one 2-hour lecture/tutorial per week throughout the year, with at least one lecture on the rights of patients and confidentiality.

Clinical experience of one hour per week throughout the year in a health/special education facility approved by the Faculty will be required, including tuition in guitar and piano accordeon.

SYLLABUS Aspects of music psychology including learning and memory; taste and preference for music; musical ability: physiological, psychological and neurological aspects of musical response. The function of music in the treatment of physical, intellectual and emotional disorders in children and adults, will be covered including treatment plans and case studies of individual clients. Group dynamics, and the role of the therapist in group situations, will be studied.

ASSESSMENT One 3-hour written examination at the end of the year, plus written assignments during the year. A pass grade must be achieved on the examination paper in order to •gain a satisfactory pass in the subject as a whole.

740-339 INTRODUCTION TO TEACHING A subject comprising one 2-hour workshop per week throughout the year; observation of teaching and other school work in ten schools during the course of the year.

SYLLABUS The subject is designed as an introduction to the methods and materials of music education, and as a guide to the formation of an appropriate philosophy for the teaching of music. The seminars will deal with such topics as: (a) A rationale for the teaching of music in schools. (b) A study of song literature for class and choir use in schools; choir

training; vocal techniques; song teaching; conducting. (c) Keyboard skills; continuo realization; transposition; harmonization of

melody; improvisation; vocal score reading. (d) Jazz. (e) Guitar. (f) Percussion.

ASSIGNMENTS

Six assignments will be given during the year.

ASSESSMENT 1. A practical test in the Examination Term: 2. Six written assignments, of approximately 1,000 words each, sub­mitted during the year. 3. The presentation of an observation book on the last Tuesday of the third teaching term containing relevant comments on music lessons seen in each of the ten schools visited. Students must have participated and attended at school visits. Students must attend seminars and participate in class work to the satisfaction of the Examination Board.

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MODERN LANGUAGES 740-141 MODERN LANGUAGES — FRENCH SYLLABUS Vocal works in French. Dictation, pronunciation, enunciation, grammar, translation. Reading and listening to texts as prescribed.

740-142 MODERN LANGUAGES — ITALIAN SYLLABUS Study ot Italian Arie. Dictation, pronunciation, enunciation, grammar, translation. Reading and listening to texts as prescribed.

740-143 MODERN LANGUAGES — GERMAN SYLLABUS Vocal works in German. Dictation, pronunciation, enunciation, grammar, translation. Reading and listening to texts as prescribed.

Each of the above subjects will be offered on a rotating basis. In 1987 the subject will be French, in 1988 Italian and 1989 German. Vocal students are required to complete each of the three subjects before eligible to graduate. The course in each subject consists of 3 hours per week throughout the year.

ASSESSMENT 1. One 2-hour paper. 2. Oral test. This must be satisfactorily passed before a result in the subject can be obtained.

740-111 MUSIC HISTORY 1A LATE RENAISSANCE AND BAROQUE MUSIC

A subject in Year One of two lectures and one tutorial per week.

Students entering this subject will be expected to have the ability to follow musical scores and to understand discussions on the formal, harmonic and con­trapuntal structures. Students without this background would have difficulty in comprehending the subject. Therefore, those wishing to enrol without this back­ground are strongly urged to undertake preliminary work prior to the commen­cement of the course. SYLLABUS The history of European music from c. 1550 to c. 1750 together with a critical study of the works of representative composers of the period.

ASSESSMENT Two 3-hour papers together with two written assignments of 2,000 words each submitted at the end of the first two teaching terms.

740-211 MUSIC HISTORY 2A (PASS) CLASSICAL AND ROMANTIC MUSIC

A subject in the Second Year of two lectures and one tutorial each week throughout the year.

SYLLABUS A survey of European music from c. 1760 to c. 1914 illustrated with an analytical study of set works. The course will examine the flowering of the classical symphony in the second half of the eighteenth century and its expansions and modifications throughout the period to c. 1914, the development of opera from Gluck and Mozart through the German,

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Italian and French styles of the nineteenth century, the growth of sacred music outside an ecclesiastical setting, and the composition of instru­mental works of a smaller nature during the period.

ASSESSMENT

Two 3-hour examination papers in November, and two written assignments of not more than 2,000 words each, submitted at the end of each of the first two terms.

740-271 MUSIC HISTORY 2A (HONOURS) CLASSICAL AND ROMANTIC MUSIC

In addition to the requirements for the pass subject, a lecture of one hour per week throughout the year. Except with the permission of the Faculty, students must normally have gained at least an upper level B in 740-111 Music History 1A to enrol in this subject.

SYLLABUS As for the pass course with an investigation of additional subjects and areas of the period in greater depth. A study of additional set works.

ASSESSMENT In addition to the requirements for the Pass course, one 3-hour examination paper in November and two written assignments of not more than 2,000 words each, at the beginning of the second and third terms respectively.

740-311 MUSIC HISTORY 3A (PASS) TWENTIETH CENTURY MUSIC

A subject in Year Three of two lectures and one tutorial per week. SYLLABUS This study will be of the principal developments in music from the early twentieth century to the present day.

Particular works will be studied and attention given to the broader historical and cultural issues.

ASSESSMENT Three assignments or seminar papers will be set and not more than two 3-hour papers together with class work and written work.

740-371 MUSIC HISTORY 3A (HONOURS) TWENTIETH CENTURY MUSIC

In addition to the requirements for the pass subject, a seminar of one hour per week throughout the year. Except with the permission of the Faculty, students must normally have gained either an A in 740-211 Music History 2A or at least H2A in 740-271 Music History 2A (Honours) to enrol in this subject. SYLLABUS As for the pass course with an investigation of specific subjects and works in greater depth.

ASSESSMENT Two assignments or seminar papers in addition to the pass course assignment requirements.

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740-411 MUSIC HISTORY 4A (PASS) EARLY MUSIC

A subject consisting ot two lectures and one tutorial per week.

SYLLABUS A study of European music to c. 1550 including an introduction to the philosophy and practice of music in classical antiquity. The course aims to delineate the musical styles of the Medieval and Renaissance periods through a critical study of selected scores, and to examine theoretical writings and iconographical materials relating to performance practice and the role of music in society.

ASSESSMENT One 3-hour paper and an essay assignment of approximately 2,500 words.

740-471 MUSIC HISTORY 4A (HONOURS) EARLY MUSIC

In addition to the requirements for the pass subject, one seminar and one tutorial per week. Students must normally have gained either an A in 740-311 Music History 3A or at least H2A in 740-371 Music History 3A (Honours) to enrol in this subject.

SYLLABUS The details of this course are as prescribed for MUSIC HISTORY 4A (Pass level) together with an additional seminar in musical paleography. ASSESSMENT In addition to fulfilling the requirements of the Pass subject, students are to sub­mit transcriptions from early notation studied in the Paleography seminars as re­quired throughout the year.

740-401 MUSIC HISTORY 4B (PASS) ANCIENT, MEDIEVAL AND EARLY RENAISSANCE MUSIC

A subject in Year Four of one weekly seminar throughout the year.

SYLLABUS This is a workshop course designed to fulfil the needs of students intending to enter the teaching profession. Its main thrust is directed towards a study of musical styles, forms, compositional and performance techniques of the period c. 1100-1550. Students will explore the repertory of the period and also gain some practical experience in its performance. ASSESSMENT One written assignment of 2,500-3,000 words, a viva voce examination of the materials studied in seminars, and performance in class of prepared works.

740-461 MUSIC HISTORY 4B (HONOURS) ANCIENT, MEDIEVAL AND EARLY RENAISSANCE MUSIC

This subject is as prescribed for the Pass subject together with an additional one-hour weekly seminar in Paleography. Students must normally have gained either an A in 740-311 Music History 3A or at least H2A in 740-371 Music History 3A (Honours) to enrol in this subject.

ASSESSMENT In addition to fulfilling the requirements of the Pass course, students are to submit transcriptions of early notations studied in the Paleography seminars as required throughout the year.

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740-113 MUSIC LANGUAGE STUDIES 1 A subject in. the first year consisting of one lecture and two tutorials each week throughout the year. It comprises a study of the styles and techniques of selected forms of music drawn largely from the period 1550 to 1750.

SYLLABUS 1 Principles of diatonic harmony, and the simpler forms of dissonance. 2 Instrumental and vocal harmony of this period in up to four parts. 3 The addition of up to three parts to Baroque figured basses. 4 Late-Renaissance vocal and instrumental counterpoint in up to three parts. 5 Baroque vocal and instrumental counterpoint in up to three parts.

6 Principles of musical structuring of this period.

ASSESSMENT 1 Exercises set throughout the teaching year which will average not more than

50 bars each week. These exercises will account for 40% of the final mark. 2 Two 3-hour examination papers at the end of the year which will account for

60% of the final mark. A pass mark must be obtained in each section of the assessment.

740-213 MUSIC LANGUAGE STUDIES 2 A subject in the second year consisting of one lecture and two tutorials each week throughout the year. It comprises a study of the styles and techniques of selected forms of music drawn largely from the period 1750-1850.

SYLLABUS 1 Principles of chromatic harmony, and advanced forms of dissonance. 2 Vocal and instrumental harmony in up to four parts. 3 Solo and accompanimental styles of non-virtuoso pianoforte writing. 4 Baroque fugal expositions in up to three parts. 5 Orchestral scoring using the resources typical of the period 1750-1850.

6 Principles of musical structuring of this period.

ASSESSMENT 1 Exercises set throughout the teaching year which will average not more than

50 bars each week. These exercises will account for 40% of the final mark. 2 Two 3-hour examination papers at the end of the year which will account for

60% of the final mark. A. pass mark must be obtained in each section of the assessment.

740-313 MUSIC LANGUAGE STUDIES 3 A subject in the third year consisting of three contact hours (lectures and tutorials) each week throughout the year. It comprises a study of styles and techniques of selected forms of music drawn largely from the period 1850-1950.

SYLLABUS 1 Chromatic harmony in the late-Romantic style. 2 The motive. 3 Principles of serial composition. 4 Introduction to electronic techniques. 5 Diatonic popular styles of the mid-twentieth century. 6 Orchestral and chamber scoring of the period. 7 Principles of structuring of the period.

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ASSESSMENT 1 One 3-hour examination paper at the end of the year which will account for

15% of the final mark. 2 Six major assignments each of which will be no more than 64 bars in length.

These assignments will account for 60% of the final mark. 3 Up to six written analytical exercises 01 not more than bOO words each.

These exercises will account for 10% of the final mark. 4 A cassette of electronic exercises of not more than three minutes in duration,

and undertaken in tutorial groups. These exercises will account for 15% of the final mark.

A pass mark must be obtained in each section of the assessment.

740-413 MUSIC LANGUAGE STUDIES 4 A subject in the fourth year consisting of one seminar each week throughout the year.

SYLLABUS 1 Baroque, classical and romantic fugue in up to four parts. 2 Neo-classical compositional techniques. 3 Aleatoric and graphic notations in the twentieth century. 4 Advanced figured bass reading at the keyboard. 5 The reading at the keyboard of a score for full orchestra with not more than

three groups of transposing instruments.

ASSESSMENT 1 One 3-hour examination paper at the end of the year which will account for

30% of the final mark. 2 A practical examination at the keyboard of not more than 15 minutes dura­

tion, and testing figured bass playing, and score reading. This will account for 30% of the final mark.

3 Exercises set throughout the teaching year, and covering the styles studied in the course. Each exercise will amount to not more than 64 bars in length or eight minutes in duration. These exercises should be presented in folios at the end of each of the first three terms, and in all they will account for 40% of the final mark.

A pass mark must be obtained in each section of the assessment.

MUSIC PERFORMANCE The purpose underlying studies in Music Performance is not simply the acquisition of those skills necessary for presenting musical works for enjoyment, but rather to provide the means by which sensitive personal insights as well as the subtle characteristics of different cultural and historic styles can be communicated.

Tuition will involve individual lessons, group lessons and ensemble classes. CONTACT HOURS Contact hours for Music Performance 1, 1 A, 2, 3, 3(Hons.). and 4 consist of:

1. (1.1) one individual lesson of 45 minutes each fortnight. plus

(1.2) one 1 V2-hour group lesson each fortnight OR 2. one individual lesson of 45 minutes each week, where two or

less students are studying with the same teacher. Music Performance 4 (Hons.) students receive one hour group or individual lesson each week.

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740-116 MUSIC PERFORMANCE 1 A course in Year One throughout the year consisting of individual lessons and group teaching.

The work will consist of: 1. A minimum of 4 studies, technical exercises and scales chosen to ensure that the full range of technical requirements appropriate to the instrument has been studied and remedial work as needed to develop a complete technique.

2. Preparation for a 30-minute recital containing examples of at least two contrasting periods of music suitable for the concert platform. The student must demonstrate, through his performance, awareness of the stylistic and interpretative characteristics of the works presented and of their intellec­tual and emotional content. The course of study will be centred around critical discussion of interpretation of the music presented in classes and individual lessons.

ASSESSMENT (1) A 15-minute technical test at the end of the second teaching term at which students will be required to play four studies and complete other technical work. This test must be passed before a result can be recorded in the subject, but it v/ill not be counted in the result.

(2) A 30-minute examination at the end of the course. Programmes containing major works in contrasting styles should be submitted to the Faculty Office not later than the end of the term prior to that in which the examination is to take place. Programme forms are available from the Faculty Office. The programme must not include works performed at the H.S.C. Music A examination.

740-216 MUSIC PERFORMANCE 2 A course in Year Two throughout the year consisting of individual lessons and group teaching.

There will be a lecture of one hour per week in second and third terms, for which students will select, study and perform a programme of works which could form the basis of a teaching repertoire including a wide range of periods and styles. The course is designed to encourage the student to devise teaching programmes and methods which lead to a balanced emotional and intellectual approach to the art, and an insight into the meaning and effects of music. In second and third terms there will be a class of one hour per week dealing with these aspects of the Art of Teaching.

ASSESSMENT (1) A 15-minute practical test at the end of the course on teaching repertoire and teaching method must be passed before a result in the subject can be obtained but it will not be counted in the result.

All students enrolled in Music Performance 2 must attend the lectures on Mon­days in second and third terms. Attendance and participation in the classes will be taken into account in the assessment of the subject. A list of teaching pieces, studies and beginners books must be prepared with the assistance of the instrumental or vocal teacher. This will form the basis for the teaching repertoire. Students are asked to submit this list to the Faculty Office by the end of first term. Performances in the class will be from this list.

(2) A 30-minute examination at the end of the course. Programmes containing major works in contrasting styles should be sub­mitted to the Faculty Office not later than the end of the term prior to that in which the examination is to take place. Programme forms are available from the Faculty Office.

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740-316 MUSIC PERFORMANCE 3 A course in Year Three throughout the year consisting of individual lessons and group teaching.

The programme will be of prepared works from the main music periods from which suitable material on the instrument is available, and will continue the critical study of interpretation commenced in Music Performance 1 and further developed in Music Performance 2. ASSESSMENT (1) A 40-minute examination at the end of the course. The candidate will prepare a programme of at least 50 minutes' duration from which the examiner will select c. 35 minutes for. performance. Programmes con­taining major works in contrasting styles should be submitted to the Faculty office not later than the end of the term prior to that in which the examination is to take place. Programme forms are available from the Faculty Office.

The programme should include two studies of which the examiners will choose one for playing at the examination.

740-376 MUSIC PERFORMANCE 3 (HONOURS) Students may not enter this course without the approval of the Faculty. Students must normally have gained an A in 740-216 Music Performance 2 to enrol in this course. A course in Year Three throughout the year consisting of individual lessons and group teaching. There will be an additional weekly Master Class of two hours which students are expected to attend, and at which they should perform on re­quest. Works will be prepared from the main music periods from which suitable material on the instrument is available, and which will continue the critical study of interpretation commenced in Music Performance 1 and further developed in Music Performance 2.

ASSESSMENT (1) A 50-minute examination at the end of 1he course. The candidate will prepare a programme of at least 50 minutes' duration from which the examiner will select c. 40 minutes for performance. Programmes con­taining major works in contrasting styles should be submitted to the Faculty Office not later than the end of the term prior to that in which the examination is to take place. Programme forms are available from the Faculty Office. The programme should include two studies of which the examiners will choose one (or playing at the examination. Examiners may choose parts of pieces in the programme to be performed and may stop condidates during per­formance. N.B. Candidates will be required to perform the study (selected by the examiner) and one other work from memory.

(2) All students enrolled in the above subject will attend a Master Class each Friday. Performance by the students will be from 1 p.m.-2 p.m. and discussion about the performances from 2 p.m.-3 p.m. It is expected that Honours students will perform regularly in these classes, and there will be a list of dates on the notice-board on which students should enter their names and the works they intend to play. A report on the performance in the Master Classes will be made available to the Dean at the end of the year, by the co-ordinator of the subject. Students must give satisfactory performances during each of the first three terms of the year, before being permitted to perform at the annual examinations. Re­ports on student participation will be prepared each term by the co-ordinator.

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740-416 MUSIC PERFORMANCE 4 A course in Year Four throughout the year consisting of individual lessons and group teaching. As for Music Performance 3, the programme will be of prepared works from the main music periods, from which suitable material on the ins­trument is available. However, students will study works that are more advanced and will perform to a more advanced level of sophistication, developing further the insight into interpretation of individual styles and periods acquired in earlier years of the course.

ASSESSMENT (1) A 50-minute examination at the end of the course which may be open to the public if the candidate so desires. Candidates will prepare a programme of approximately 40 minutes' duration, including breaks, which will normally be heard in its entirety by examiners. Programmmes containing major works in con­trasting styles should be submitted to the Faculty Office not later than the end of the term prior to that in which the examination is to take place. Programme forms are available from the Faculty Office. (2) An oral test of 10 minutes' duration on the repertoire and history of the instrument, held at the end of first term. This test must be passed before a result can be recorded in the subject, but it will not be counted in the result.

740-476 MUSIC PERFORMANCE 4 (HONOURS) Students may not enter this course without approval of the Faculty. Students must normally have gained either an A in 740-316 Music Performance 3 or at least H2A in 740-376 Music Performance 3 (Hons.) to enrol in this course. With special approval B.Mus.Ed. students who have gained at least Honours 2A in Music Per­formance 3 (Hons.) may undertake this subject as an additional subject. In addition to lessons there will be an additional weekly Master Class of two hours which students are expected to attend, and at which they should perform on re­quest.

The works studied will be more advanced and students will perform at a more advanced level than for Music Performance 3 (Hons.). They will be expected to demonstrate further insight into interpretation of individual styles and periods acquired in earlier years of the course.

ASSESSMENT (1) A 50-minute recital, which may be open to the public, at the end of the course. The 50-minute timing must include breaks. Under special circumstances the Dean may give approval for a recital outside the University at a time other than the November examination period to be taken as the examination. Such approval must be obtained at least one month before the performance is to take place. Programmes containing major works in contrasting styles should be submitted to the Faculty Office not later than the end of the term prior to that in which the ex­amination is to take place. Programme forms are available from the Faculty Office.

(2) Before a result can be obtained in the subject, students of instrumental performance must perform a concerto with orchestra or a major ensemble work comprising at least three players.

Students of vocal performance must perform with orchestra an excerpt of at least 10 minutes' from opera or oratorio or a major ensemble work involving at least three players in addition to the voice. In the case of works involving orchestra the Faculty may direct that the performance be given with piano accompaniment, if performance with orchestra cannot be arranged. These requirements will not have any weighting in the final result. Candidates will be required to perform at least two works of the programme from memory.

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(3) An oral test of 10 minutes duration on the repertoire and history of the instrument held at the end of first term.

(4) All students enrolled in the above subject will attend a Master Class each Friday. Performances by the students will be from 1.00-2.00 p.m. and discussion about the performances from 2.00-3.00 p.m. It is expected that Honours students will perform regularly in these classes, and there will be a list of dates on the notice-board on which students should enter their names and the works they intend to play. A report on the performance in Master Class will be made available to the Dean at the end of the year, by the co-ordinator of the subject. Students must give satisfactory performances during each of the first three terms of the year, before being permitted to perform at the annual examinations. Re­ports on student participation will be prepared each term by the co-ordinator.

740-016 MUSIC PERFORMANCE 1A A course in Year One throughout the year consisting of individual lessons and group teaching. Individual lessons will be 45 minutes per fortnight; group classes will be 1 Vz hours per fortnight. This course is for students in other faculties wishing to take practical music, as well as for Music Faculty students approved to take a second performance study. Students will attend the same classes as Music Performance 1 students enrolled in the Faculty of Music. A quota will be imposed by the Faculty of Music on enrolments in Music Perfor­mance 1A. Except with the special permission of the Faculty, students must have reached H. S.C. or an equivalent level in the study concerned to enrol in the subject.

The subject will consist of:

I. A minimum of two studies (or approved technically demanding pieces), technical exercises and scales chosen to ensure that the full range of technical requirements appropriate to the instrument have been studied and remedial work as needed to develop a complete technique.

2. Preparation for a 30-minute recital containing examples of at least two contrasting periods of music suitable for the concert platform. The student must demonstrate, through his/her performance, awareness of the stylistic and interpretative characteristics of the works presented and of their intellectual and emotional content. The course of study will be centred around critical discussion of interpretation of the music presented in classes and individual lessons. 3. Participation in ensemble activities. Ensemble classes aim to develop skills needed in the performance of music in association with other musicians, whether in large or small groups. In addition to the development of skills, the students will be expected to gain a knowledge of the repertory, to obtain a deeper insight into musical styles and forms and to de­velop a critical sense through observation and discussion in the classes.

To satisfy the requirements of this subject, all students shall either play in the Faculty Orchestra or sing in the Faculty Choir participating in such rehearsals and performances regularly throughout the year as shall be prescribed by the Faculty. Participation in the Faculty Orchestra shall account for the entire requirement of the subject. Those students who sing in the Faculty Choir shall complete their three hours contact for this subject by enrolling in a second Ensemble study selected from the list below. The Dean may direct which Ensemble studies a student shall pursue. Students may enrol in one additional optional Ensemble study with the approval of the Dean. In the area of ensemble performance, the first responsibility of every student of the Faculty lies with the Faculty Ensemble subject(s) of which he or she is a member.

47

Students are required to attend regularly and participate in at least one of the following activities: (a) Orchestra rehearsals and performances. (b) Choir rehearsals and performance. (c) Instrumental or vocal group rehearsals and performances. (d) Chamber Music classes. (e) Keyboard Accompaniment classes. (0 Early music. (g) Contemporary Music ensemble. (h) Percussion. (j) Jazz ensemble.

Not all options will be offered in any one year.

ASSESSMENT (1) A practical test at the end of the course, of which the total performance time, including breaks, will be approximately 25 minutes. The programme must contain at least two works in contrasting styles, a minimum of two studies (or approved technically demanding pieces), and appropriate scales or technical exercises.

Programmes should be submitted not later than the end of the term prior to that in which the examination is to take place, on a form available from the Faculty Office. (2) Participation in ensemble activities. (3) An ensemble examination, during the year, normally of 15 minutes' duration or a public performance approved for the purpose by the Faculty.

NOTE: Participation in the ensemble activities of the Faculty is an integral part of the course. Students whose participation in these activities is unsatisfactory may be refused credit for the subject. Participation in ensemble classes must be of a satisfactory standard and the ensemble examination must be passed before a result can be obtained in the subject, although the ensemble participation and ensemble exam­ination result will not be counted in the result. For information regarding participation in Ensemble activities, students from other faculties should apply to the Music Faculty office.

740-472 MUSICOLOGY (HONOURS) Students must normally have gained an A in 740-313 Music Language Studies 3 and at least H2A in 740-371 Music History 3A (Hons.) to enrol in this subject. The course comprises:

(a) The preparation and presentation of a thesis of between 8,000 and 10,000 words in length. Each student will be assigned to a supervisor, and must submit two bound, typewritten copies of the thesis not later than the first day of the fourth term. One copy of the thesis may be deposited in the Library, the other will be returned to the candidate.

(b) Attendance at, and participation in, a weekly class on the principles and practice of musical research of one hour's duration in the first three terms. The class will provide an introduction to the theory and methods of musicology including bibliographical methods, the edit­ing of music, music criticism and music analysis. The class will provide some guidance in the preparation and presentation of the thesis.

ASSESSMENT During the year each student will read one class paper of approx. 1,000 words (which will then be delivered to the lecturer) and will lead class discussion on its subject. In addition one assignment of not more than 2,000 words may be set. The final mark for this course will be determined

48

by the thesis alone, but satisfactory attendance at the weekly class (that is at least 75 per cent attendance), and a pass mark in both the class paper and assignment must be achieved before the result can be recorded.

720-022 PHILOSOPHY OF EDUCATION M Mr W. G. S. Smith

A weekly seminar of approximately 1 Vz hours throughout the year.

SYLLABUS Some philosophical aspects ol the following topics will be studied: 1. Concepts of education 2. Education, knowledge and values 3. Moral and religious issues in education 4. Education and indoctrination 5. Aesthetics in music education 6. Current problems in the teaching of music 7. Assessment and education ASSESSMENT Students will be required to present two essays, each of approximately 2,000 words.

171-100 PSYCHOLOGY 1 A course of two lectures per week with 2 hours per week of laboratory classes and 1-hour per week of laboratory assignments throughout the year.

SYLLABUS Cognitive development, abilities, personality, biological foundations of behaviour, perception, learning, memory, social psychology, psychopathology and an in­troduction to quantitative methods. All students with less than H.S.C. Math­ematics competence or who doubt their ability to deal with the material in the quantitative methods segment of the course may find the following texts helpful:

L. E. Enticknap and E. J. Morgan: Elementary Mathematics, 1980, Harcourt Brace & Jovanovich.

G. F. Naylor and L. E. Enticknap: Statistics Simplified, 1981. Harcourt Brace & Jovanovich.

Students intending to major in Psychology should consider including one or more cognate subjects in their first year program. Examples of such subjects are Biology of Man, Political Science, Economics. Mathematical Sciences, History and Philosophy of Science and Philosophy.

ASSESSSMENT End of year and term examinations will be held to assess the statistics and lecture course. The total time spent in examinations across the year will not exceed 6 hours. A record of laboratory work is required to be kept in a log-book throughout the year. An overall satisfactory standard of the log-book record must be achieved in order to be eligible for a pass in the subject. Laboratory work will be assessed in class from time to time. Assessment details, including information about end-of-term examinations, will be published on the departmental notice-board at the beginning of first term and in the First Year Manual available from the Department.

FURTHER COURSE DETAILS Further course details, including information about recommended reading, will be available in the First Year Manual available from the Department of Psychology at the beginning of first term, and will also be published on the departmental notice board.

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171-200 PSYCHOLOGY 2A (PASS) Convenor: Dr D. Rosenthal A course of three lectures and one 2-hour laboratory session per week throughout the year.

SYLLABUS The course consists of five sections, all compulsory. Section (a) and (b) (which are equally weighted) together comprise half the course, while the three equally weighted sections (c), (d) and (e) comprise the other half. Prerequisite: Psychology 1 or its equivalent.

ASSESSMENT For each of sections (a), (b) and (d) a practical report (or essay) of 1,000-2,500 words in length and a 1 -hour examination will be required. Section (c) and Section (e) will be assessed by a 1 '/2-hour examination. Weightings of components of as­sessment will be notified to students at the commencement of the course.

A satisfactory standard in practical work reports must be achieved in order to gain at least a pass in the subject. Further details will be published on the departmental notice-board at the beginning of first-term and in the Second Year Manual available from the Department.

SECTIONS

(a) AFFECTIVE AND SOCIAL DEVELOPMENT Theoretical formulations (which may include psychoanalytic theories) and em­pirical studies relating to the socialization process and its outcomes.

(b) COGNITIVE AND LANGUAGE DEVELOPMENT Ways in which humans acquire, organise and express their knowledge of the world. Theories and empirical studies of perceptual, cognitive and language development.

(c) NEUROPSYCHOLOGY A (Note that this subject is offered through the Department of Psychology to students undertaking studies in Music Therapy.) Functional organization of the brain in relation to human higher processes, e.g. perception, memory, learning, thinking, speech, emotion and attention. Brain dysfunction in children and adults.

(d) SOCIAL PSYCHOLOGY

Theory and methods of research in social psychology, including social perception, attitude theory, interpersonal and intergroup processes. The application of research findings to contemporary problems.

(e) QUANTITATIVE METHODS A Statistical inference and data analysis, including the topics: nonparametric statistics, an introduction to the analysis of variance, correlation. N.B. Students are required to obtain at least a pass in section [e), Quantitative Methods A and in the Quantitative Methods B section of Psychology 2B (Hons) in order to be permitted to enrol in 171-260 Psychology 3B (Hons).

FURTHER COURSE DETAILS Further course details, including information about recommended reading will be available from the Department of Psychology in the Second Year Manual at the beginning of first term, and will also be published on the departmental notice-board.

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720-046 SCHOOL PRACTICE The subject will consist of:

1. Demonstration lessons, microteaching sessions. 2. Observation of teaching and other school work. 3. Teaching practice in approved schools as arranged by the Faculty,

the amount to be determined according to (i) the previous experience, and (ii) the aptitude of the student.

ASSESSMENT The student will be assessed (to Pass only) on \he basis of performance in practice in approved schools.

720-044 SOCIOLOGY OF EDUCATION M Approximately 30 hours of lectures or tutorials. SYLLABUS The subject will introduce students to basic sociological theory, and to various social processes related to education. Students will be en­couraged to select certain aspects of the course for special study. ASSESSMENT Not more than three written assignments.

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SECTION 5 : POSTGRADUATE STUDIES

DEGREE OF MASTER OF MUSIC Details of the provisions applicable for the Master of Music course are available from the Assistant Registrar (Music). (See also the University General Principles of Selection for Entry to Postgraduate Courses, in Appendix 1 in this Handbook.

DEGREE OF DOCTOR OF PHILOSOPHY This degree is awarded by the University. For details, see the Calendar, Regulation 3.60.

740-601 MASTER OF MUSIC All candidates are required to complete satisfactorily a major study in Research or Composition or Performance as follows: RESEARCH Candidates seeking to undertake the course in the fields of Musicology. Music Therapy or Music Education may do so subject to the approval of the Faculty of Music in either of the following manners:

(i) By thesis of between 30,000-35,000 words (excluding footnotes and appendices) embodying the results of significant research on a topic approved by the Faculty. Any variation to this topic must be approved by the Faculty.

OR (ii) By transcription and edition of a substantial body of music together

with an editorial commentary and a dissertation of between 10,000-20,000 words on the subject of the music edited.

COMPOSITION Candidates seeking to undertake the course in the field of Composition may do so subject to the approval of the Faculty of Music by presentation of:

(i) a folio of original compositions using different resources and of varying lengths including at least one composition of a substantial and sustained nature; the folio must be approved by the Faculty

AND (ii) a folio of analyses of a number of major contemporary musical works,

details of which have been approved by the Faculty, together with a dissertation of approximately 10.000 words on these works.

PERFORMANCE Candidates seeking to undertake the field of Performance may do so subject to the approval of the Faculty of Music and will be required:

(i) to give to the satisfaction of the examiners appointed pursuant to Statute 3.12, two public recitals in which ma|or works are performed. One recital should be of normal concert length and the other of approximately 50 min­utes duration. The programmes for the two recitals are to be submitted for approval by Faculty not less than six months prior to the anticipated date of the first recital. (No candidate may present a recital in fulfilment of this re­quirement until the Faculty has satisfied itself through audition that the can­didate is adequately prepared for public performance; this audition will be held not more than three months after approving the recital programmes.)

AND (ii) to provide substantial programme notes for each recital at the time of

the recital; AND

(iii) to write a dissertation of approximately 10,000 words on a subject approved by the Faculty of Music related to their performance area.

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In addition all candidates will normally be required: (i) to complete satisfactorily a post-graduate subject or course of study ap­

proved by the Faculty. Written assignments for this requirement will not nor­mally exceed 10,000 words; for this purpose the following subject has been approved:

740-412 Electives AND

(ii) to take part in a programme of postgraduate seminars organised by the Faculty. The post-graduate seminar will be held on Mondays from 5.30 p.m. to 7.00 p.m. throughout the three teaching terms of the academic year. All students, both full-time and part-time, must attend and participate in at least 75% of these seminars throughout the first year of their candidature;

AND

(iii) to present a lecture or lecture-recital of not more than 50 minutes duration to the satisfaction of an assessor appointed by the Faculty.

All sections of the course must be completed before a result can be obtained.

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SECTION 6: EXHIBITIONS, SCHOLARSHIPS, PRIZES AND FINANCIAL ASSISTANCE Scholarships available to Faculty of Music Students only:

NAME NUMBER ELIGIBLE VALUE TENURE REGULATION APPLICATIONS

Mona McCaughey Scholarships: (a) Mona McCaughey

Scholarship

(b) Efise Wiedermann Scholarship

(c) Una Bourne Scholarship

Walter Kirby Singing Scholarship

C. D. Hume Violin Scholarship

one per year

one per year

one per year

vocal studies students

vocal studies students

pianoforte students

one-third of net annual income on S12 000 one-third of net annual income on $12 000 one-third of net annual income on $12 000

one year renewable 6.727 from year to year

one year renewable 6.127 from year to year

one year renewable 6.127 from year to year

one per year vocal studies students

one per year Students qualified to enter the degree course particularly later year students in need

net annual income on S2 000

net annual income of the fund

one year renewable 6.59 from year to year

T. Al lan McKay Pianoforte Scholarship

one per year Full course or single net annual income on study students of 32 000 pianoforte

one year but renewable for two further periods of cne year

one year but renewable for two further periods of one year

Determined on the basis of examination results in the previous year.

6.82

Muriel Cheek Memorial Scholarship

one per year Full course or single net annual income on study students of S2 000 singing

three years depending upon progress of the holder

Determined on thy basis of examination results in the previous year.

Determined on the basis of examination results in the previous year.

Determined on the oasis of examination results in the previous ynnr

Determined on the oasis of examination results in the previous year

Orchestral seven Single S8b0 apDrox one year Not later than I Bursaries per Study day for

year Students re-enrolment.

NUMBER ELIGIBLE VALUE TENURE REGULATION APPLICATIONS

Allan Scholarship one per year Full course students of piano. Preference to students whose permanent home is within a 50 mile radius of Horsham

as determined from time to time by Council

one year renewable in special cases for one further period of one year

6.156 Determined on the basis of examination results in the previous year.

Eric and Linda Jullyan Memorial Scholarship

one per year Full course students entering third or fourth year who show promise worthy of development

net annual income of the fund.

one year renewable annually

6.136 Determined on the basis of examination results in the previous year.

M. and E. Kefford Scholarship

one or more per year

Full course or single net annual income on study students who $2 000 are children of British subjects by birth

one year or such further period as determined by Council on the recommendation of tho Vice-Chancellor

6.119

Alberto Zelman Violin Scholarship

Clarice Malyon Middleton Scholarship

one per year Full course or single study students of violin

net annual income on $2 000

one year renewable from year to year

6.141

one per year any female student of singing whother enrolled for a degree course or not

net annual income on $1 000

one year renewable 6.72 (65)

Florence Bradford Scholarships

F. W. Homewood Memorial Scholarship

minimum of students of the three per year Faculty

recommended by tho Faculty and approved by the Trustees

one year renewable

one per year students of pianoforte who are graduates or diplomates of not more than five years' standing

net income of the fund.

one year but renewable for one further period of one year only

6.56

Determined on the basis of examination results in the previous year.

Determined on the basis of examination results in the previous year.

Determined on the basis of examination results in the previous year.

Determined on the basis of examination results in the previous year.

Determined on the basis of examination results in the previous year.

Prizes and Exhibitions awarded to Faculty of Music Students:

NAME NUMBER VALUE AWARDED AT AWARDED FOR OPEN TO ENTRY

Ormond Exhibitions and Scholarships

determined by Faculty

recommended by Faculty

one year students of the Faculty

Determined on the basis of examination results in the previous year.

Music Lovers Society Bursary

one per year $100 one year students of the Faculty

Determined on the basis of examination results in the previous year.

Herbert Davis Award one per year SiOO one year full course students of organ in f*rst or second year

Determined on the basis of examination results in the previous year.

The Wright Prize one S100 annual examinations proficiency in performance of some instrument open to matriculated students

first year students

Deier mined on the basis of examination results in tho previous yeat

The Maude Harrington Prize

one books to the value or the annual income of the fund

annual examinations proficiency in accompanying a sinqer on the pianoforte

students ot the faculty

Determined on the basis of examination results in the Drevious year.

Rosemarie Kenny Prize one net annual income of the fund

annual examinations

most promise in solo pianoforte playing.

students entering final year of degree course

Determined on the basis of examination results in the previous year.

Florence Menk Meyer Prize

one net annual income of the fund

annual examinations

students en'erinq final year of B Mus. course

Determined on the basis of examination results in the previous yeai.

Bertha Jorgensen Exhibition

one — no student may win the award more than once

net annual income of the fund

annual examinations outstanding performance on violin

students of violin in third or fourth year of degree course

Determined on the basis of examination results in the previous year

Allans Award one a silver plate annual examinations best pianoforte oertormance-

students in the third or fourth year of the degree course

Determined on the. basis of examination results in the previous year.

Prizes and Exhibitions awarded to Faculty of Music Students (continued):

en

NAME NUMBER VALUE AWARDED AT AWARDED FOR OPEN 10 ENTRY

Peg Oldfieid Prize

one ':'b o'< net annua! income

annual examinations best performance result final year degree Pass (stringed instrument) and Hons students final year

Ivy May Pendelbury Bursary

net annual income of fund

Anglican students

Determined on the basis of examination results in the orevious year.

Schubert Bursary

\ only needy students

all Students of Faculty

Deter mined on the basis of examination results in the Drevious year.

Catherine Grace McWilliam Prize

1 only S2b0 annual examinations

Pest student in Final Year of course

Determined on the basis of examination results in the previous year

Faculty entrance Exhibition

1 only S80

Lady Turner Prizes

2 S90 books to the value of annual income ot fund

first year students

Determined on the basis of examination results in the previous year.

Lady Turner Exhibition

b annual income of the fund

excellence in all areas of the course

all students ot trie Faculty

Determined on the basis of examination results in the previous year.

Nellie Melba Prize

1 only net annual income of the fund

annual examinations

for students gaining first place in year 2 ol the course

all second year students

Determined on the basis of examination results in the previous year

Travelling Scholarships:

NAME NUMBER ELIGIBLE VALUE TENURE AWARDED APPLICATIONS

Welsford Smithers Travelling Scholarship

Nickson Travelling Scholarship

Lizette Bentwitch Scholarship

music graduates wishing to continue their studies overseas

on recommendation of Faculty for approval by Counci l $10,000

two years from time to time Refer R.6.153

holdor of a degree or diploma in music from any Victorian university who is under 30 years of

age

at the discretion of a selection committee

determined by Council on the recommendation of a selection committee

not more often than every two years Reler R.6.140

or.e or two every four years

graduates in Music or Arts

not annual income of tfie fund $6,000

one year but renewable for one further year only

in biennial periods alternating with the Faculty of Arts Reter RfiflR

Following a notice.

publication of

Following publication of a notice.

Following the publication of a notice on University notice-boards.

SECTION 8:

BOOKLISTS Hereunder are listed the books, scores and other publications set or recommended for the various subjects. The arrangement of subjects follows that of the Details of Subjects section, i.e. alphabetical order. Note: (a) Individual language studies will be found grouped under MODERN

LANGUAGE STUDIES, (b) Under the heading MUSIC HISTORY STUDIES will be found the following

subjects: Music History 1A (Late Renaissance and Baroque Music) Music History 2A (Classical and Romantic Music) Music History 3A (Twentieth Century Music) Music History 4A (Early Music) Music History 4B (Ancient, Mediaeval and Early Renaissance Music)

Only those subjects and units for which booklists have been supplied are listed below. The Faculty notice-boards should be consulted at the beginning of the academic year for any changes to the booklists. In these booklists the symbol (PR) indicates that a publication is essential pre­liminary reading. An asterisk at the beginning of an entry indicates that the publication is an essential text or reference and should be in the possession of students.

B.MUS. AND B.MUS.ED. COURSES 740-112 ACOUSTICS 'Backus J The Acoustical Foundations ot Music 2nd ed Norton or "RossingTD The Science of Sound 1st ed Addison Wesley Roederer J G Introduction to the Physics and Psychophysics ot Music 2nd ed

Springer Verlag Fletcher N Physics and Music Heinemann Educ Aus Hutchins C M The Physics o l Music Scientific American

740-102 AURAL TRAINING 1 "Benward B Workbook in Ear Training 2nd ed Wm. C. Brown Co. 'Kodaly Z 333 Reading Exercises 1972 Boosey & Hawkes

740-202 AURAL TRAINING 2 "Kodaly Z Fifteen Two-Part Exercises 1952 Boosey & Hawkes "Leganyne Hegyi Erzsebet Collection of Bach Examples Vol. 1 1971 Editio Musica,

Budapest

740-432 CLINICAL PRACTICE IN MUSIC THERAPY Adams G Essentials of Geriatric Medicine 1977 Oxford Med Pub OUP "Davies B Introduction to Clinical Psychiatry 1968 MUP "Ford B The Elderly Australian 1979 Penguin lllingworth R The Normal Child 7th ed 1979 Churchill Livingstone "Judge C Retarded Australians 1975 MUP Kubler-Ross E On Death and Dying 1969 McMillan Sainsbury M J Key to Psychiatry 1973 Aust & NZ Book Co. Holt K S Developmental Paediatrics 1977 Butterworths Drillien and Drummond Neurodevelopmental Problems in Early Childhood Holle B Motor Development in Children — Normal and Retarded 1976 Blackwell

Scientific Publications

58

Bleck and Nagel Physically Handicapped Children—A Medical Atlas for Teachers 1975 Grune & Stratton

Miller B F and Keane C B Encyclopaedia and Dictionary ot Medicine and Nursing 1972 Saunders

'Butler R N and Lewis M I Aging and Mental Health 3rd ed 1982 Mosby London Wolfenberger W Normalization 1972 Nat Inst of Mental Retardation Toronto Munro S Music Therapy in Palliative/Hospice Care 1985 Magna-Music Baton Yalom The Theory and Practice of Psychotherapy

740-214 COMPOSITION —SMALL ENSEMBLES Boretz and Cone Perspectives on Contemporary Music Theory 1972 W H Norton Boulez P Boulez on Music Today 1971 Faber & Faber Brindle R S Serial Composition 1966 OUP Cage J Silence 1961 Wesleyan UP Cope D New Music Composition 1977 Schirmer

Periodicals: Perspectives ol New Music Princeton Journal ol Music Theory Yale

740-314 COMPOSITION — ELECTRONIC MUSIC and

740-374 COMPOSITION —ELECTRONIC MUSIC (HONOURS) The following books are in addition to the books recommended for Composition — Small Ensembles: Heikenheim S The Electronic Music ot Karlheinz Stockhausen 1972 Sanomapaino

Helsinki Strange A Electronic Music, Systems, Techniques, Controls 1971 W Brown Iowa

740-414 COMPOSITION —INSTRUMENTAL AND VOCAL and

740-474 COMPOSITION —INSTRUMENTAL AND VOCAL fHONOURS)

The following books are in addition to the books recommended for Composition — Small Ensembles and for Composition — Electronic Music: Matthews M The Technology ot Computer Music 1969 MIT Press Cambridge Mass Xenakis I Formalised Music 1971 Indiana UP Periodicals: Source, Davis

Computer Music Journal, California

720-045 CURRICULUM STUDIES Besson Tartaranus and Forcucci Teaching Music in Today's Secondary Schools

1974 Hall Rinehart & Winston Hoffer C R Teaching Music in the Secondary Schools 2nd ed 1973 Wadsworth

Calif Thomas R B ed Manhattanville Music Curriculum Programme Synthesis 1970

Media Inc NY Paynter J and Aston P Sound and Silence 1970 CUP Lond Regelski T A Principles and Problems ol Music Education 1975 Prentice-Hall Reimer B A Philosophy ot Music Education 1970 Prentice-Hall, New Jersey Bontinck I ed New Patterns ol Music Behaviour 1974 Universal Vienna Dennis B Experimental Music in Schools 1970 OUP Lond Dwyer T Composing with Taperecorders 1971 OUP Lond Dwyer T Progressive Scores 1971 OUP Lond Paynter J Hear and Now 1972 Universal London" Paynter J Music in the Secondary School Curriculum 1982 CUP Salaman S Living School Music 1983 CUP

59

Schafer R M Ear Cleaning 1967 BMI Canada Schafer R M The Composer in the Classroom 1965 BMI Canada Schafer R M When Words Sing 1970 BMI Canada Self G Aural Adventure 1969 Novello London Self G New Sounds in Class 1967 Universal London Swanick K A Basis tor Music Education 1979 NFER Publishing Swanick K and Taylor D Discovering Music 1982 Batsford Academic Taylor D Music Now 1979 Open University Press Vulliamy and Lee Pop Music in School 1976 CUP Vulliamy G and Lee E Popular Music: a teacher's guide 1982 Routledge & Kegan Paul Vulliamy G and Lee E Pop Rock and Ethnic Music in School 1982 CUP

740-433 CURRICULUM STUDIES IN MUSIC THERAPY Bailey P They Can Make Music 1973 OUP Bitcon C Alike and Different 1976 Rosha Press Bonny H and Savary L Music and your Mind 1973 Harper & Row Bright R Music in Geriatric Care 1980 Musicgraphics Bright R Practical Planning in Music Therapy tor the Aged 1981 Music Graphics Burnside I ed Working with the Elderly; Group Process and Techniques 1976

Duxbury Press Clark C and Chadwick D Clinically Adapted Instruments for the Multiple

Handicapped 1980 Magna-music Baton Dobbs J The Slow Learner and Music 1972 OUP Dustin R and George R Action Counselling for Behavioural Change 2nd ed 1977 Carroll

Press Eagle C T (ed) Music Therapy Index vol 1 1976 Nat Assocn Mus Therapy Eagle C T (ed) Music Psychology Index vol 2 1978 Inst. For Therapeutics Research Eagle C T (ed) Music Psychology Index vol 3 1980 Oryx Press Gelineau P Songs in Action 1974 McGraw-Hill Ginglend and Stiles Music Activities tor Retarded Children 1965 Abingdon NY Ginglend and Carlson Play Activities for the Retarded Child 1961 Cassell Graham R M and Beer A S Teaching Music to the Exceptional Child 1980

Prentice-Hall Gray V and Percival R Music, Movement and Mime for Handicapped Children

1962 OUP Laban R Mastery of Movement 1966 2nd ed. McDonald & Evans Nordoff P and Robbins C Children's Songs vol 1-5 Theodore Presser Nordoff P and Robbins C Creative Music Therapy 1977 John Day Nowicki and Trevisan Beyond the Sound: A Technical and Philosophical Approach

to Music Therapy 1977 Magna-music Baton Orff G The Orff Music Therapy 1974 Schott

'Plach T The Creative Use of Music in Group Therapy Chas Thomas Springfield Purvis J and Samet S Developmental Music Therapy 1976 University Park Press Robbins C and C Music for the Hearing Impaired and Other Special Groups

1980 Magna-music Baton Ruud E Music Therapy and its Relationship to Current Treatment Theories

Magna-music Baton Schulberg C The Music Therapy Sourcebook 1981 Human Sciences Press NY Ward D Hearts and Hands and Voices 1976 OUP Ward D Sing a Rainbow 1979 OUP Periodicals Journal, National Assocn for Music Therapy Washington U.S. Journal, British Society for Music Therapy U.K. Bulletin. Aust. Music Therapy Assocn Proceedings. Annual Conferences. Ausl. Music Therapy Assocn 1975-

720-033 EDUCATIONAL PSYCHOLOGY M 'Biggs J B and Telfer R The Process of Learning 1981 Prentice-Hall Chaplin J P Dictionary ot Psychology 1st or 2nd ed Dell

60

740-412 ELECTIVES CHURCH MUSIC IN ENGLAND Benham H Latin Church Music in England 1460-1575 1977 Barrie & Jenkins Dearnley C English Church Music 1650-1750 1970 Barrie & Jenkins Dennison P Pelham Humfrey 1986 OUP Fellowes E H English Cathedral Music 5th ed 1969 rev by J A Westrup Methuen Le Huray P Music and the Reformation in England 1967 Jenkins Long K The Music of the English Church 1972 Hodder & Stoughton 'Morris C (compiler) Anthems for Choirs 4 1976 OUP 'Morris C (compiler) The Oxford Book of Tudor Anthems 1978 OUP Shaw W Eighteenth Century Cathedral Music (CMS Occasional Paper No 21) OUP 'The Treasury of English Church Music Vols 2-5 1965 Blandford THE 1890's Check with lecturer

THE IBERIAN RENAISANCE Check with lecturer MUSIC ANALYSIS A and B Epstein D Beyond Orpheus 1979 MIT Press Forte A The Structure of Atonal Music 1973 Yale Forte A and Gilbert S Introduction to Schenkerian Analysis 1982 Norton Jonas O Introduction to the Theory of Heinrich Schenker 1982 Longman Kalib S 'Thirteen Essays from the Three Yearbooks Das Meisterwerk in der

Musik by Heinrich Schenker: An annotated translation' (PhD dissertation) 1973 UMI

Meyer L Explaining Music 1973 Chicago Nattiez J-J Fondements d'une semiologie de la musique 1975 Union generale d'editions Narmour E Beyond Schenkerism 1977 Chicago Reti R The Thematic Process in Music 1961 Faber Rahn J Basic Atonal Theory 1980 Longman Ruwet N Langage, musique. poesie 1972 Seuil Salzer F Structural Hearing 1962 Dover Schenker H Five Graphic Music Analyses 1969 Dover Schenker H Free Composition 1979 Longman Schoenberg A Fundamentals of Musical Composition 1967 Faber Schoenberg A Style and Idea 1975 Faber Tovey D Essays in Musical Analysis 1944 OUP Tovey D Essays and Lectures on Music 1949 OUP Walker A A Study in Musical Analysis 1962 Barrie and Rockliff

Periodicals: The Music Forum Vols 1 -5 Music Analysis A Departmental Reading Guide with additional references will be issued.

MUSIC IN AUSTRALIA Scores and Readings Sculthorpe Sun Music Series Meale Homage to Garcia Lorca Meale String Quartet Grainger Colonial Song. The Warriors Antill Corroboree Werder Quartet VI Conyngham Southern Cross Howard Temple of the Golden Pavilion Plush Folk Songs

MUSIC OF BEETHOVEN Check with lecturer

MUSIC OUTSIDE THE WESTERN TRADITION Check with lecturers

61

PURCELL, HANDEL AND BACH: THREE STUDIES IN BAROQUE DRAMATIC MUSIC Dean W Handel's Dramatic Oratorios and Masques 1959 OUP Durr A Die Kantaten von Johann Sebastian Bach 1971 Price C A Henry Purcell and the London Stage 1984 CUP Robertson A The Church Cantatas of J. S. Bach 1972 Westrup J A Purcell 8th rev ed 1979 Dent

RENAISSANCE INSTRUMENTAL MUSIC Check with lectuer

THE SYMPHONY IN THE NINETEENTH CENTURY Check with lecturer

MUSIC AND TECHNOLOGY Buckminster Fuller R Utopia or Oblivion Jones B Sleepers, Wake! Technology the Future of Work 1982 OUP Melbourne Spearin C Computer and Creativity 1974 McCauley Praeger NY Computer Music Journal MCT Press

760-005 HUMAN GROWTH & DEVELOPMENT As per SOCIAL STUDIES Handbook

740-332 INTRODUCTION TO MUSIC THERAPY 'Gaston E Thayer ed Music in Therapy 1968 Macmillan 'Judge C Retarded Australians 1975 MUP 'Radocy and Boyle Psychological Foundations of Musical Behaviour 1979 Thomas Alvin J Music for the Handicapped Child 1965 OUP Alvin J Music Therapy tor the Autistic Child 1978 OUP Alvin J Music Therapy 1974 2nd ed Basic Books NY Benenzon R Music Therapy Manual 1981 Chas Thomas Benenzon R Music Therapy in Child Psychosis 1982 Chas Thomas Bright R Music in Geriatric Care 1974 Angus & Robertson Critchey Mac and Henson eds. Music and the Brain Studies in the Neurology ol

Music 1977 Heinemann London Davies, J B Psychology of Music 1978 Hutchinson Farnham-Diggory Learning Disabilities 1978 Fontana Ford B The Elderly Australian 1979 Penguin Graham R M ed. Music tor the Exceptional Child 1975 Mus Ed Nat Cont Kubler-Ross E On Death and Dying 1969 Macmillan Madsen C Music Therapy: A Behavioural Guide for the Mentally Retarded 1981

Magna-music Baton Meyer L Emotion and Meaning in Music 1958 Univ of Chicago P Michel D Music Therapy 2nd ed 1985 Chas Thomas Munro S Music Therapy in Palliative/Hospice Care 1985 Magna-music Baton Nordoff & Robbins Creative Music Therapy 1977 John Day Nordoff & Robbins Music Therapy in Special Education 2nd ed 1983 Magna-

music Baton Priestley M Music Therapy in Action 1975 Constable Robinson and Robinson The Mentally Retarded Child: A Psychological Approach 1965

McGraw-Hill Robbins C and C Music for the Hearing Impaired and Other Special Groups 1980

Magna-music Baton Ruud E Music Therapy and its Relationship to Current Treatment Theories 1980 Magna-

music Baton Safilios-Rothschild C The Sociology and Social Psychology of Disability and Rehabilitation

1970 Random House NY Sainsbury M J Key to Psychiatry 1980 3rd ed Aust & NZ Book Co. Tyson C Psychiatric Music Therapy 1982 Magna-music Baton

62

740-339 INTRODUCTION TO TEACHING Dennis B Experimental Music in Schools OUP Thomas R B ed Manhattanville Music Curriculum Programme Synthesis 1970

Media Inc NY Marsh M V Explore and Discover Music Macmillan Paynter J and Aston P Sound and Silence OUP Paynter J Hear and Now OUP Reimer B A Philosophy ol Music Education 1970 Prentice-Hall Schafer M The New SoundScape, Ear Cleaning, The Composer in the Classroom

BMI Canada Schafer M When Words Sing Berandol Canada Schafer M The Rhinoceros in the Classroom 1975 Universal No 26922 Schafer M ed The Music of the Environment 1973 Universal No 26751 Self G New Sounds in Class, Aural Adventure Universal Swanwick K A Basis lor Musical Education 1979 NFER London

740-141 MODERN LANGUAGES — FRENCH and

740-142 MODERN LANGUAGES — ITALIAN and

740-143 MODERN LANGUAGES — GERMAN None prescribed.

MUSIC HISTORY STUDIES Apart from the prescribed and recommended books and scores listed under the individual subjects, all students will need to consult the following throughout their course: "Apel W Harvard Dictionary ot Music 2nd ed 1970 Heineman Sadie S ed The New Grove Dictionary of Music and Musicians 1980 Macmillan

Before beginning any of the following Music History courses students should read:

"Kerman J Listen 3rd ed 1980 Worth Westrup J A An Introduction to Musical History 2nd ed 1973 Hutchinson

740-111 MUSIC HISTORY 1A LATE RENAISSANCE AND BAROQUE MUSIC BOOKS Abraham G ed The New Oxford History of Music: iv, The Age ot Humanism

1540-1630 1968 OUP Anthony J French Baroque Music 2nd ed 1978 Batsford Arnold D Giovanni Gabriel! 1979 OUP Arnold D Marenzio 1965 OUP Arnold D Monteverdi 2nd ed 1975 Dent Arnold D et al The New Grove Italian Baroque Masters 1984 Macmillian Arnold D and Fortune N. eds The New Monteverdi Companion 1985 Faber biume l- Protestant Church Music: A History 1975 Gollancz Blume F Renaissance and Baroque Music: A Comprehensive Survey 1969 Faber 'Brown H M Music in the Renaissance 1976 Prentice-Hall Bukofzer M F Music in the Baroque Era 1948 Dent Caldwell J Editing Early Music 1985 Clarendon Dean W Handel's Dramatic Oratorios and Masques 1959 OUP Donington R The Interpretation of Early Music rev ed 1974 Faber Geiringer K Johann Sebastian Bach: The Culmination of an Era 1966 Allen & Unwin Glover J Cavalli 1978 Batsford

63

'Grout D J A Short History of Opera 2nd ed 1965 Columbia UP 'Grout D J A History of Western Music 3rd ed 1981 Dent Harman A and Milner A Man and His Music: ii. Late Renaissance and Baroque Music 1969

Barrie & Jenkins Hogwood C The Trio Sonata 1979 BBC Kerman J The Masses and Motets of William Byrd 1981 Faber Lewis A and Fortune N ed The New Oxford History of Music: v, Opera and Church Music

1630-1750 1 975 OUP Moser H J Heinrich Schutz tr C Pfatteicher 1959 Concordia Newman W S The Sonata in the Baroque Era 3rd ed 1972 Norton "Palisca C V Baroque Music 2nd ed 1981 Prentice-Hall Reese G Music in the Renaissance 1954 Dent Reese G et al The New Grove High Renaissance Masters 1984 Macmillian Roche J North Italian Church Music in the Age of Monteverdi 1984 Clarendon Roche J Lassus 1982 OUP Roche J The Madrigal 1972 Hutchinson Roche J Palestrina 1971 OUP Self ridge-Field E Venetian Instrumental Music from Gabrieli to Vivaldi 1975

Blackwell Smither HE A History of the Oratorio 2 vols 1977 Univ of North Carolina Press "Strunk 0 ed Source Readings in Music History: i i , The Renaissance 1965'Norton *Strunk 0 ed Source Readings in Music History: iii, The Baroque Era 1965 Norton Westrup J A Purcell 8th ed rev N Fortune 1979 Dent

PRESCRIBED SCORES 'Bach Violin Concerto in E Eulenburg 'Bach Sf Matthew Passion Eulenburg 'Gabrieli In ecclesiis ed F Hudson Eulenburg Min Score 1061 'Handel Saul vocal score Novello Ledger P ed The Oxford Book of English Madrigals 1978 OUP 'Monteverdi L'Orfeo ed Stevens 1968 Novello "Monteverdi Vespro della Beats Vergine ed Jurgens 1977 Philharmonia 470 'Palestrina Pope Marcellus Mass ed L Lockwood Norton Critical Score "Praetorius Wie schon leuchtet der Morgenstern Eulenburg Min Score 1045 "Purcell Ode on St Cecilia's Day 1692 vocal score ed P Dennison 1975 Novello "Roche J. /fa//an Madrigals 1974 Penguin "Schutz The Christmas Story Eulenburg Min-Score 981 "Victoria Motet and Mass "O quam gloriosum" Eulenburg Min Score 1706

Davison A and Apel W ed Historical Anthology ol Music 2 vols 1949-1950 Harvard UP

Lerner E R ed Study Scores ol Musical Styles 1968 McGraw-Hill "Palisca C V ed Norton Anthology ot Western Music- i, Medieval, Renaissance,

Baroque 1980 Norton

740-211 MUSIC HISTORY 2A (PASS) CLASSICAL AND ROMANTIC MUSIC BOOKS Abraham G 7"ne New Oxford History of Music viii: The Age of Beethoven 1790-

1830 1982 OUP Abraham G The Concise Oxford History ot Music 1979 OUP Andrews H K The Oxford Harmony Vol 2 1950 OUP Arnold D and Fortune N The Beethoven Companion 1973 Faber Blume Classic and Romantic Music 1972 Faber Budden J The Operas of Verdi Vol. 3 1981 OUP Burbidge P and Sutton R The Wagner Companion 1979 Faber Cooke D The Language ot Music 1962 OUP Dahlhaus C Between Romanticism and Modernism 1980 California Dahlhaus C Richard Wagner's Music Dramas 1979 OUP Davison A and Apel W Historical Anthology of Music Vol 2 1950 Harvard Deane B Cherublni 1965 OUP Del Mar N Richard Strauss: A Critical Commentary on His Life and Works 3 vols

1962-1972 Barrie and Rockliff

64

Dennison P J ed The Richard Wagner Centenary in Australia 1985 MMA 14 Donington R Wagner's "Ring" and its Symbols 3rd ed 1974 Faber Drummond J D Opera in Perspective 1980 Dent Einstein A Music in the Romantic Era 1947 Dent Forbes E ed Thayer's "Lite ot Beethoven" 1 vol ed 1970 Princeton UP Geiringer K Brahms: His Lite and Work 2nd ed 1948 Allen & Unwin Grout D J A History ot Western Music rev ed 1973 Dent Grout D J A Short History ot Opera 2nd ed 1965 Columbia UP Howard P C. W. von Gluck 'Orfeo' 1981 CUP Hutchings A A Companion to Mozart's Piano Concertos 1950 OUP John N ed Fidelio ENO Guide 4 1980 Calder John N ed The Marriage of Figaro ENO Guide 17 1983 Calder John N ed Ofe//o ENO Guide 7 1981 Calder John N ed Tristan und Isolde ENO Guide 6 1981 Calder John N ed Die Walkure ENO Guide 21 1984 Calder Kennedy M Mahler 1974 Dent Kennedy M Portrait ot Elgar 1982 2nd ed OUP Kerman J Opera as Drama 1958 Vintage Landon H C Robbins Haydn: Chronicle and Works 5 vols 1976-1980 Thames &

Hudson Landon H C Robbins and Mitchell D The Mozart Companion 1956 Barrie & Rock-

liff Lockspelser E Debussy 2nd ed 1963 Dent Longyear R M Nineteenth Century Romanticism in Music 1969 Prentice-Hall Macdonald H Berlioz 1982 Dent Millington B Wagner 1984 Dent Moore J N Edward Elgar a Creative Life 1984 OUP Newman E Wagner Nights 1977 Picador Nichols R Debussy 1973 OUP Osborne C The Complete Operas of Mozart Atheneum NY Osborne C The Complete Operas of Verdi 1969 Da Capo Palmer C Impressionism in Music 1973 Hutchinson Pauly R G Music in the Classic Period 2nd ed 1973 Prentice-Hall Plantinga L Romantic Music 1984 Norton Primmer B The Berlioz Style 1973 OUP Rosen C The Classical Style 1973 Fabet Rosen C Schoenberg 1975 Fontana Solomon M Beethoven 1980 Granada Strunk O ed Source Readings in Music History: iv, The Classic Era 1965 Norton Strunk O ed Source Readings in Music History: v, The Romantic Era 1965 Norton Tovey D F Essays in Musical Analysis Vols 1 -6 OUP Walker A ed Franz Liszt: The Man and His Music 1970 Barrie & Jenkins Walker A ed Robert Schumann: The Man and His Music 1972 Barrie & Jenkins Watson D Bruckner 1975 Dent Wellesz E and Sternfeld F The New Oxford History ot Music: vii, The Age of

Enlightenment 1745-1790 1973 OUP

PRESCRIBED SCORES "Beethoven Symphony no 9 in D minor 'The Choral' Eulenburg, Philharmonia or

Dover 'Beethoven Symphony no 3 in E flat, the Ero/'ca, Eulenburg or Dover 'Berlioz Symphony Romeo et Juliette Eulenburg 'Brahms Symphony no 3 in F Eulenburg or Dover 'Debussy La MerDurand, Eulenburg or .Dover 'Elgar Symphony no 2 in E flat Novello

Gluck Orfeo Barenreiter vocal score "Haydn Symphony no 102 In B flat Eulenburg 'Liszt Piano Sonata in B minor Kalmus 'Mahler Symphony no 5 in C sharp minor, Kalmus

65

'Mozart The Marriage of Figaro Eulenburg, Kalmus or Dover 'Mozart Piano Concerto in C K467 Kalmus or Dover 'Schubert Wanderer Fantasy tor Piano D760 Lea or Kalmus 'Schumann Symphony no 3 in E flat the Rhenish Eulenburg or Dover 'Strauss Ein Heldenleben Eulenburg or Dover Verdi Otello International

"Wagner Tristan und Isolde Dover

740-271 MUSIC HISTORY 2A (HONOURS) CLASSICAL AND ROMANTIC MUSIC BOOKS

(As for 740-211 Classical and Romantic Music (Pass)) PRESCRIBED SCORES (In addition to those prescribed for Classical and Romantic Music (Pass)) "Beethoven Fidelio Eulenburg "Berlioz Les Troyens Eulenburg 'Bruckner Symphony no 7 in E Eulenburg "Elgar The Dream of Gerontius Novello "Haydn Mass in D minor "The Nelson" Eulenburg 'Wagner Die Walkiire Dover

740-311 MUSIC HISTORY 3A (PASS) TWENTIETH CENTURY MUSIC Antokoletz E The Music of Beta Bartdk 1984 Univ of Calif Appleton J H 7"he Development and Practice of Electronic Music 1975 Prentice Hall 'Austin W Music in the Twentieth Century 1966 Norton Brindle R S The New Music 1975 OUP Callaway and Tunley eds Australian Composition in the Twentieth Century 1978 OUP CooperMed The New Oxford History of Music, Vol J01974 OUP Cope D New Directions in Music 1971 Brown Cott J Stockhausen 1973 Simon & Schuster Covell R Australia's Music 1967 Sun Books Evans P The Music of Benjamin Britten 1979 Dent Griffiths P Beta Bartdk 1984 Dent 'Griffiths P A Concise History of Modern Music 1978 Thames & Hudson Griffiths P Peter Maxwell Davies 1982 Robson 'Griffiths P Modern Music: the Avant Garde since 1945 1981 Dent Hannon M Peter Sculthorpe: his music and ideas 1982 OUP Howe H Electronic Music Synthesis 1975 Norton Jarman D The Music ofAlban Berg 1979 Faber Johnston R S Messiaen 1975 Dent Kemp I Tippett: the composer and his music 1984 Eulenburg Kolneder W Anton Webern 1968 Faber Leibowitz R Schoenberg and his School 1970 Da Capo Lockspeiser E Debussy 1951 Dent Lockspeiser E Debussy: his life and mind (2 vols) 1962, 1965 Cassell Maconie R The Works of Karlheinz Stockhausen 1976 OUP Moldenhauer H Anton Webern 1978 Knopf The New Grove Modern Masters: Bartdk. Stravinsky, Hindemith 1984 Macmillan Orenstein A Ravel: Man and Musician 1975 Columbia UP Palmer C Impressionism in Music 1973 Hutchinson Perle G Serial Composition and Atonality 5th ed 1981 UCLA Press Peyser J The New Music 1970 Decolorte Press Russcol H The Liberation of Sound 1972 Prentice Hall Salzman E Twentieth Century Music: An Introduction 1967 Prentice Hall Searle G From Deserts the Prophets Come 1973 MUP Schiff D The Music of Elliott Carter 1983 Eulenburg Stuckenschmidt H Arnold Schoenberg 1977 Calder

66

Van den Toorn The Music of Igor Stravinsky Yale UP Vlad R Stravinsky 1960 OUP White E W Stravinsky: The Composer and his Works 1966 Faber •Whittall A Music Since the First World War 1977 Dent Whittall A The Music of Britten and Tippett 1982 CUP Worner K Stockhausen — Life and Work 1973 Faber

Supplementary Reading Lists will be provided. PRESCRIBED WORKS "Bartok Music for Strings. Percussion and Celeste Berg Wozzeck Berio Sinfonia Boulez Structures la Cage Music of Changes "Debussy Preludes for Piano. Books I and II 'Debussy Jeux Feldman The King of Denmark Ives Three Places in New England Meale Clouds Now and Then 'Messiaen Quartet for The End of Time Penderecki St Luke Passion Riley /n "C" 'Schoenberg Pierrot Lunaire, op.21 'Schoenberg Piano Concerto Stockhausen Gruppen 'Stravinsky The Rite of Spring 'Stravinsky Symphony in C Tippett Symphony No. 3 "Webern Six Bagatelles for String Quartet, op.9 'Webern String Quartet, op.28 Xenakis Pithoprakta

740-371 MUSIC HISTORY 3A (HONOURS) TWENTIETH CENTURY MUSIC In addition to those prescribed for the Pass course:

Adorno T W Philosophy of Modern Music 1973 Sheed & Ward Bartok B Be/a Bartdk Essays 1976 St Martin's Press Boulez P Boulez on Music Today 1971 OUP Carter E The Writings of Elliott Carter 1977 Indiana UP Dahlhaus C houndations of Music History 1983 CUP Debussy, Ives, Busoni Three Classics in the Aesthetics of Music 1962 Dover Hindemith P A Composer's World 1952 Harvard UP Meyer L Music, The Arts and Ideas 1967 Chicago Mitchell D The Language of Modern Music 1976 Faber Poggioli R The Theory of Avant Garde 1973 Harvard Rissatti New Music Vocabulary 1975 Illinois UP Schoenberg A Style and Idea 1975 Faber Webern A The Path to the New Music 1963 Universal and Theodore Presser

Periodicals: Die Reihe Journal of Music Theory Music Analysis Perspectives of New Music Source

67

740-411 and

740-471

MUSIC HISTORY 4A (PASS)

MUSIC HISTORY 4A (HONOURS)

EARLY MUSIC Apel W Gregorian Chant 1958 Burnes-Oates Apel W The Notation of Polyphonic Music 900-1600 1953 The Medieval Academy

of America Aubry P Trouveres and Troubadors 1969 Cooper Square Bachman The Origins of Bowing Bent M Dunstable 1981 OUP 'Brown H M Music in the Renaissance 1976 Prentice-Hall Brown H M Embellishing 16th Century Music 1976 OUP Brown H M Music in the French Secular Theater 1400-1550 1963 Harvard UP Bukofzer M Studies in Medieval and Renaissance Music 1951 Dent Caldwell J Editing Early Music 1985 Clarendon Caldwell J Medieval Music 1976 Hutchinson Cattin G Music of the Middle Ages 11984 Cambridge Dronke P The Medieval Lyric 1968 Hutchinson Fallows D Dufay 1982 Dent Gallo FA Music of the Middle Aaes I11985 Cambridge Grout D J A History of Western Music 1973 Dent Hamm C A Chronology ot the Works of Guillaume Dufay 1964 Princeton UP Harrison F L Music in Medieval Britain 1958 Routledge & Kegan Paul *Hoppin R H Medieval Music 1978 Norton Hughes A Medieval Music: The Sixth Liberal Art rev ed 1980 Benn Levarie S Guillaume de Machaut 1969 Da Capo Marrocco W T The Music ot Jacopo da Bologna 1954 U. of Calif. Press Montagu J The World of Medieval and Renaissance Musical Instruments 1976

David & Charles Parrish C The Notation of Medieval Music 1978 Pendragon Raynor H A Social History ot Music 1972 Barrie & Jenkins Reese G Music in the Middle Ages 1940 Norton 'Reese G Music in the Renaissance 1954 Dent Reese G et al The New Grove High Renaissance Masters 1984 Macmillan Roche J Italian Madrigals 1974 Penguin Roche J The Madrigal 1972 Hutchinson Rowen R H Music Through Sources and Documents 1979 Prentice Hall Sachs C The Rise ot Music in the Ancient World 1943 Norton *Seay A Music in the Medieval World 1975 Prentice Hall Strunk O ed Source Readings in Music History: i, Antiquity and the Middle Ages

1965 Norton Strunk O ed Source Readings in Music History: i i , The Renaissance 1965 Norton Wellesz E ed The New Oxford History of Music Vols 1-4 OUP Werf H van der The Chansons of the Troubadours and TrouvSres 1972 Oosthoek Wilkins N Music in the Age of Chaucer 1979 Brewer

PRESCRIBED SCORES

Davison A and Apel W eds Historical Anthology of Music Vol I Harvard UP Greenberg N and Maynard P eds An Anthology of Early Renaissance Music 1975

Dent Hoppin R H ed Anthology of Medieval Music 1978 Norton Lerner E Study Scores of Musical Styles 1968 McGraw-Hill 'Marrocco W T and Sanders N eds Medieval Music (The Oxford Anthology) 1977

OUP 'Palisca C V ed Norton Anthology ol Western Music Vol. 1 1980 Norton *Dufay G Zwblf Geistliche und weltliche Werke Das Chorwerk. No 19 1951 Moseler

68

'Josquin F Missa Pange Lingua. Missa de Beata Virgine Kalmus Study Score No 702 n.d. Belwyn Mills

"Landini F Three-Pad Ballate, Madrigals, Caccia 1982 L'Oiseau-Lyre 'Machaut G Les Ballades 1977 L'Oiseau-Lyre "Machaut G La Messe de Notre Dame 1977 L'Oiseau-Lyre "Vitry P. Complete Works 1984 L'Oiseau-Lyre 'Richafort J and Gombert N Drei Motteten uber den Text Quern dicunt homines

Das Chorwerk, No 94 1964 Moseler

740-401 MUSIC HISTORY 4B (PASS) and

740-461 MUSIC HISTORY 4B (HONOURS)

ANCIENT, MEDIEVAL AND EARLY RENAISSANCE MUSIC REFERENCE BOOKS: Apel W The Notation ol Polyphonic Music 900-1600 1953 The Medieval Academy

of America Brown H M Embellishing 16th Century Music 1976 OUP "Brown H M Music in the Renaissance 1976 Prentice-Hall Cattin G Music of the Middle Ages 11984 Cambridge Dronke P The Medieval Lyric 1968 Hutchinson Gallo FA Music of the Middle Ages I11985 Cambridge Grout D J A History ot Western Music 1973 Dent Harman A Man and His Music: i, Medieval and Early Renaissance Music 1962

Barrie & Jenkins "Hoppin R H Medieval Music 1978 Norton Montagu J The World ot Medieval and Renaissance Musical Instruments 1976

David & Charles Raynor H A Social History of Music 1972 Barrie & Jenkins Reese G Music in the Middle Ages 1940 Norton Reese G Music in the Renaissance 1954 Dent Reese G et al The New Grove High Renaissance Masters 1984 Macmillan Roche J Italian Madrigals 1974 Penguin 'Seay A Music in the Medieval World 1975 Prentice-Hall Werf H van der The Chansons of the Troubadours and Trouveres 1972 Oosthoek

PRESCRIBED SCORES Davison A and Apel W eds Historical Anthology of Music Vol I Harvard UP Greenberg N and Maynard P eds An Anthology ot Early Renaissance Music 1975

Dent Hoppin R H ed Anthology of Medieval Music 1978 Norton Lerner E Study Scores of Musical Styles 1968 McGraw-Hill "Marrocco W T and Sanders N eds Medieval Music (The Oxford Anthology) 1977

OUP "Palisca C V ed Norton Anthology ot Western Music Vol. 1 1980 Norton

740-113 MUSIC LANGUAGE STUDIES 1 "Bach J S 351 Harmonized Chorales and 69 Choral Melodies

ed Albert Riemenschneider 1941 Schirmer Benjamin T The Craft of Modal Counterpoint 1979 Schirmer Boyd M Bach's Instrumental Counterpoint 1967 Barrie & Rockliff Gauldin R A Practical Approach to Sixteenth Century Counterpoint 1985 Prentice-Hall Keller H Thoroughbass Method 1965 Norton Kennan K Counterpoint 1972 Prentice-Hall Ottman W Elementary Harmony 3rd ed 1983 Prentice-Hall Piston W Harmony 4th ed 1977 Norton Reynolds WH Common Practice Harmony 1985 Longmans Spencer P The Practice of Harmony 1983 Prentice-Hall Swindale O Polyphonic Composition 1962 OUP Tunley D Harmony in Action 1984 Faber

69

740-213 MUSIC LANGUAGE STUDIES 2 *Kennan W K Counterpoint Workbook 1972 Prentice-Hall Kennan K W Counterpoint 1972 Prentice-Hall Kennan K W The Technique of Orchestration 1952 Prentice-Hall Piston W Harmony 1983 Gollancz Piston W Orchestration 1955 Norton

740-313 MUSIC LANGUAGE STUDIES 3 An additional Booklist will be available from the department at the beginning of each academic year.

Scores will be given at the beginning of each term.

740-413 MUSIC LANGUAGE STUDIES 4

A Booklist will be available from the department at the beginning of the academic year.

740-216 MUSIC PERFORMANCE 2 Experimental Teaching Project The Enjoyment ot Music Through Group Activity

1975 MUP 740-472 MUSICOLOGY (HONOURS)

Barzun J and Graff H F The Modern Researcher 3rd ed 1977 Harcourt Brace & World

Duckies V Music Reference and Research Materials: An Annotated Bibliography 3rd ed Schirmer

*Gibaldi J and Achtert MLA Handbook 1980 Modern Language Assoc "Kerman J Musicology 1985 Fontana Mixter K E General Bibliography for Music Research 2nd ed 1975 Detroit Infor­

mation Co-ordinators Pruett JW and Slavens TP Research Guide to Musicology 1985 American Library Assoc. Westrup J A An Introduction to Musical History 2nd ed 1973 Hutchinson

720-022 PHILOSOPHY OF EDUCATION M Barrow Ft and Woods R An Introauction to Philosophy of Education 1982 2nd ed

Methuen Cave Donald ed Problems in Education, A Philosophical Approach 1976 Cassell

Aust Dewey J The Child and the Curriculum and the School and Society 1956 Phoenix

Books Gasking D A T Examinations and the Aims of Education 1945 MUP 'Hanslick E The Beautiful in Music 1957 Liberal Arts Press or 1974 Da Capo.

Press Hirst P Knowledge and the Curriculum 1974 Routledge & Kegan Paul Hospers J Human Conduct 1963 Hart-Davis Neill A S Summerhill 1974 Penguin Sullivan J W N Beethoven, His Spiritual Development 1964 Unwin Snook I A ed Concepts of Indoctrination 1972 Routledge & Kegan Paul

171-100 PSYCHOLOGY 1 and

171-200 PSYCHOLOGY 2A Details as per ARTS Handbook

720-044 SOCIOLOGY OF EDUCATION Connell R et al Making the Difference 1982 Allen & Unwin Windschuttle K Unemployment 2nd ed 1980 Penguin Corrigan P Schooling the Smash Street Kids 1979 Macmillan Willis P Learning to Labour 1977 Saxon

70

Section 8: APPENDICES APPENDIX 1 : UNIVERSITY GENERAL PRINCIPLES OF SELECTION FOR ENTRY TO POST. GRADUATE COURSES

1. Preamble

1.1 Applicability These principles shall not apply to such postgraduate courses under the direct control of the Academic Board as the Academic Board may prescribe from time to time.1

1.2 Selection Committee 1.2.1 There shall be a selection committee for entry to each postgraduate course consisting of the Dean of the faculty or Chairman of the board of studies concerned, or a person nominated by the Dean or Chairman, and such other members as may be appointed by the faculty or board of studies. If any member of a selection committee is unable to act, the Dean of the faculty or Chairman of the board of studies may approve the appointment of a substitute, on behalf of the faculty or board of studies concerned.

1.2.2 A selection committee shall identify those applicants to whom offers shall be made for places available for that course. 1.2.3 A selection committee shall make its decisions by the vote of a majority of the members present and voting and shall report those decisions to the faculty or board of studies as soon as possible.

1.3 Applications "1.3.1 Applicants for selection should submit applications on the appropriate form by the date prescribed or by such closing date as may be prescribed for the receipt of late applications.5

1.3.2 No application for selection lodged after such closing date shall be considered unless the selection committee con­cerned is satisfied that special circumstances exist which justify a late application.

1.4 Special and General Principles

1.4.1 Special principles of selection for any faculty or board of studies may be approved by Council on the recommendation of the Academic Board. 1.4.2 Except insofar as is provided by general principles of selection, those special principles shall not conflict with the general principles.

'1.5 Eligibility Except as otherwise provided in special principles of selection, applicants for selection to the first or later years of a postgradu­ate course must have: (a) satisfied the University entrance requirements; (b) satisfied any pre-requisite or entry requirements for, and the

• Makes provision (or Special Principles to be proposed.

1 Pursuant to Statute 2.3 (The Academic Board), the Academic Board exercises the powers and performs the duties of a faculty or board of studies for all courses not pertaining to any faculty or board of studies. The Master of Business Administration course and the Doctor of Philosophy course are under the direct control of the Academic Board and, in respect of these courses, the Board is deemed to be a faculty or board of studies within the meaning of these General Principles of Selection. The Board has prescribed that these General Principles of Selection shall not apply to entry to the Doctor of Philosophy course.

2 Such dates, if any. may be prescribed in special principles of selection or by notifica­tion in the relevant Handbook for the course concerned.

71

provisions of any regulations applicable to, the course for which selection is sought;

(c) successfully completed, to a standard satisfactory to the appropriate faculty or board of studies, courses of study which, in the opinion of the faculty or board of studies, are equivalent to those for which standing or credit is sought; and

(d) complied with any requirements for eligibility contained in special principles of selection for the course for which selection is sought.

1.6 Level of Entry: (Applicable only to postgraduate courses which are divided into years).

1.6.1 The selection committee shall consider applicants for selection at the year or level of the course which is determined in accordance with the relevant course regulation and any working rules3 of the faculty or board of studies. 1.6.2 To the extent necessary to establish the year or level for which an applicant is to be considered for selection, credit to be granted for work done in other courses may be determined in accordance with Regulation 3.3 and any working rules, if the faculty or board of studies has not provided otherwise for such a determination.

1.6.3 Unless the applicant has specified otherwise, any applicant found to be ineligible for selection at a particular level shall be considered for selection at the highest level for which the applicant is eligible.

2. Selection 2.1 Pursuant to the following principles and to any special principles

approved by Council, the selection committee shall identify those eligible applicants who are considered most likely to pursue successfully the course concerned. Such applicants shall be ranked by the selection committee and places shall be offered in accordance with such ranking until the places available4

have been filled.

2.1.1 Selection shall be based primarily on academic merit as judged by reference to the whole academic record of the applicant. 2.1.2 In establishing the relative likelihood of success of any applicant, a selection committee may, at its discretion, take into account: (a) the age of an applicant when completing part of or all of a

course of study relied on as qualifying the applicant for admission and the period of time which has passed since completion of those studies;

(b) any illness, war or military service, or serious hardship as a result of which the studies or examination performance of an applicant have, in the opinion of the committee, been adversely affected;

(c) physical handicaps or disabilities;

J Where working rules are used, a copy may be obtained Irom the Assistant Registrar of the faculty or board of students concerned.

4 Places available shall be determined by Council in accordance with resolutions agreed by Council from time to time and notified in terms of target figures, quotas or sub-quotas of Weighted Student Units attributable to postgraduate students, reserved for each faculty, Doard of studies or postgraduate course of the University, as the case may be.

72

(d) reports from persons with relevant professional qualifica­tions, where those reports may assist the selection commit­tee in evaluating the effect of factors referred to in para­graph (b) or (c);

(e) the applicant's reasons for wishing to pursue the course; (f) any work or research experience which, in the opinion of

the selection committee, may be relevant to the proposed course of study;

*(g) any other matters specified in the special principles of selection of the course for which selection is sought.

"2.1.3 A selection committee may conduct interviews to elucidate the matters referred to in section 2.1.2 above or for such pur­poses as may be provided for in special principles of selection.

2.1.4 A selection committee shall take into account any relevant written information submitted by an applicant.

"2.1.5 A selection committee may conduct written or other tests for such purposes as may be provided for in special principles of selection.

"2.1.6 A selection committee may also take into account any special principles of selection or other factors approved by Council on the recommendation of the faculty or board of studies concerned.

2.2 A selection committee shall select a candidate only if it is satisfied that the faculty or board of studies can arrange for the adequate supervision of the candidate and can provide, or arrange access to, adequate facilities for the support of that candidate.

"3. Conditional Selection Pursuant to Regulation 3.3, section 1(1), special principles of selec­tion may provide for the imposition of conditions subject to which admission may be granted.

• Makes provision for Special Principles to be proposed.

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APPENDIX 2 : MUSIC COURSES AT THE VICTORIAN COLLEGE OF THE ARTS

Undergraduate Courses for Performers The School of Music of The Victorian College of the Arts full-time courses of three years' duration leading either to the UG1 -degree award, BACHELOR OF ARTS IN MUSIC, or to the UG2 award. DIPLOMA OF ARTS IN MUSIC. Normally, applicants have completed six years of secondary education. Admission is subject to auditioning successfully, and a high level of performing ability is re­quired. Advanced standing may be granted to students transferring from other tertiary institutions, but the final year of the course must be completed on campus in full. The initial year of College study is probationary. Graduating students are required to present public performances at a profes­sional level either as soloists or as directors of ensembles, demonstrating skills in conducting, rehearsing and writing for ensemble players. A small number of degree students may be permitted to specialize in composition, music history or musicology in their final year of studies, but such course components will total no more than 40 per cent of the third year prescriptions. The specialization permitted each student concerned will be within an individual programme of study having a major emphasis on performance. As well as leading to a number of performing vocations, the College's undergraduate courses provide a basis for music teach­ing and are approved for entry to some teacher-training programmes. Every student receives generous individual instruction on the principal performing study. Ensemble training is provided by the symphony orchestra, large ensem­bles and various chamber combinations. Students of guitar, pianists and singers attend specialist ensemble classes and attend weekly master classes. Theoretical studies in the diploma course include musicianship, materials and music literature classes and tutorials. Degree students complete additional his­torical studies developing understanding of performing practice styles. Perform­ing electives may be undertaken in the College's Renaissance, Baroque, Contem­porary and Jazz ensembles.

Graduate Studies The PGI GRADUATE DIPLOMA IN MUSIC course is of two years' duration. It is designed either to provide advanced repertoire studies or to broaden areas of un­dergraduate specialization. The graduate course provides for approved profes­sional engagements to be undertaken concurrently with course work. Entry is by audition only following completion of a first degree or diploma majoring in music performance. Special consideration may be given to unqualified appliants of ex­ceptional ability.

Opera and Music Theatre The Victorian College of the Arts offers a three year part-time course of studies in Opera and Music Theatre leading to a UG3 ASSOCIATE DIPLOMA award. Singers must demonstrate at audition that their voices are sufficiently matured and well-trained to undertake stage work. The course in Opera and Music Theatre is conducted by the College in its studios at the National Memorial Theatre, St. Kilda.

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Library Digitised Collections

Author/s:

The University of Melbourne

Title:

Handbook: Faculty of Music 1987

Date:

1987

Persistent Link:

http://hdl.handle.net/11343/128987