Topics

The details for the course, Ensemble Performance Extension 1 (MUSM1226), apply to all of the following topics. Specific descriptions for Syllabus and Proposed Assessment that apply to each topic are detailed below.

Advanced Orchestral Studies for Flute/Clarinet

Syllabus

Offered to B.Mus Performance 3 and above students who are enrolled in Clarinet Performance Major.

Pre requisite MUSM1215 Performance 2.

Offered First or Second Semester. The course is delivered as a one week (5 days) intensive outside of regular Semester teaching time. Contact master class and listening time will total 15 hours.

Orchestral Studies-Clarinet aims to further develop the knowledge, repertoire and art of orchestral playing in specific regard to students wishing to gain a further in depth knowledge of style, orchestral techniques and related discipline encountered in the profession. The course covers a broad range of symphonic repertoire and deals with the challenges of preparing and focusing on orchestral auditions.

The course will comprise a series of daily master classes with set repertoire and listening sessions with feedback throughout the week.

Indicative Assessment

The course will be assessed at pass/fail only, based on effort, commitment and progress including the student’s capacity to undertake the required tasks. It is envisaged that students will have the opportunity to present a mock-audition behind screens (in keeping with professional situations) at the conclusion of the course.

Big Band

Syllabus

Big Band aims to provide students with exposure to the many different styles of large ensemble performance.  Big Band enhances an understanding of Big Band styles and application of those styles. Skills such as soloing techniques, instrumental blending, tuning and sight-reading will also be fostered. The course will also allow for and encourage students to compose and arrange for the Big Band structure. The Big Band members will be expected to undertake full rehearsals, recording experience, public performances, and recruitment projects within the education system.

It is expected that students would enrol in this course for Semesters 1 and 2 in any given year.

Indicative Assessment

The course will be assessed at a pass/fail level only, based on the student’s level of achievement and participation including an 80% attendance requirement.  In every case of absence the student must arrange a deputy.

Classic era Fortepiano vs Modern Piano

Syllabus

As with all instruments, the piano developed from an instrument that could ‘speak’ into an instrument that could ‘sing’. Classic era (ca. 1740-1830) keyboard instruments differ radically from 21st century counterparts in design, construction, sound, and touch. Such was the rapidity of development in keyboard instrument design during the Classic era, that the sound and touch of instruments made five years apart is markedly different.  Classic era composers were aware of the latest developments in keyboard instrument design, and wrote specifically for the unique qualities of sound and touch inherent in the instruments of their preferred makers.  Much of the notated and implied performance details in Classic era keyboard scores cannot be realised, or can only be realised through compromise, when performed on the modern piano; this ‘corruption’ has resulted in the emergence of conventions of performance that differ greatly from those of the Classic era.

This course outlines a history of the development of the piano to the end of the Classic era, and reveals the consequences for performance practice in relation to Classic era repertoire of the use of earlier and modern instruments.

Commercial Jazz Ensemble

Syllabus

The Commercial Ensemble is a concert performance-geared ensemble.

The aim of the ensemble is to equip the members of the band with the ability to play a wide variety of styles of music (always with a jazz influence and improvised sections). The band is based on modern music ranging from classic jazz compositions to popular contemporary music such as funk, rock and pop. The repertoire is designed to develop the students' performance skills in areas such as reading, interpretation, improvisation, performance, section playing and rehearsal techniques.

 

Indicative Assessment

Pass/Fail based on effort, commitment and progress, including the student's capacity and level of expertise to undertake increasingly complex tasks.

Contemporary Music Ensemble

Syllabus

Contemporary Music Ensemble provides students with the opportunity to perform experimental and important twentieth and twenty-first century repertoire. It allows the student to study, from a performance perspective, historically important works of the twentieth century, and deepens the student's understanding of current trends in contemporary music. The course develops skills in improvisation, extended techniques, analysis and interpretation, and knowledge of the relationship between world music and contemporary music. The ensemble has a working relationship with the School of Music composition program as well as the School of Art Field Studies program.

Indicative Assessment

Pass/fail. Effort, commitment and progress, including the student's capacity and level of expertise to undertake increasingly complex tasks.

Haydn and the English Keyboard Style

Syllabus

Between 1760 and 1800, London and Vienna were the two most important centres of piano manufacture.  English pianos differed greatly from those of Vienna in both design and aesthetics of sound.  Consequently, the compositional styles and performance practices associated with keyboard music in London and Vienna were markedly different.  Haydn visited London twice, and admitted that he composed his works for London with the 'English taste' in mind.  An erroneous, and commonly heard evaluation of Haydn's last three piano sonatas suggests that they are 'forward looking' and written under the influence of Beethoven; however, Haydn’s English keyboard compositions clearly reveal the influence both of the English piano, and of the English keyboard compositional style.

This course presents a survey of sources, quotations, and examples related to Classic era differences between English and Viennese pianos, compositional devices, and performance practices, with a focus on the English keyboard works of Joseph Haydn.

Jazz Ensemble Studies

Syllabus

Jazz Ensemble provides students with the opportunity to perform a variety of repertoire from standards through to contemporary.  Material is tailored to suit each ensembles level of performance skills. Jazz Ensemble allows the student to study, from a performance perspective, historically important works in the jazz repertoire, and deepens the student's understanding of current trends the jazz idiom. The course develops skills in improvisation, rehearsal techniques, interpretation, and arranging for small ensemble.

Indicative Assessment

Pass/Fail based on effort, commitment and progress, including the student's capacity and level of expertise to undertake increasingly complex tasks.

Jazz Keyboard

There are no syllabus or indicative asesssment details for this topic.

Jazz Vocal Group

Syllabus

Jazz Vocal Group provides students with the opportunity to perform a variety of repertoire from standards through to contemporary.  Material is tailored to suit the ensemble's level of performance skills. Jazz Vocal Group allows the student to study, from a performance perspective, historically important works in the jazz repertoire, and deepens the student's understanding of current trends the jazz idiom. The course develops skills in section singing, rehearsal techniques, interpretation, and arranging for vocal ensemble.

Indicative Assessment

Pass/fail. Effort, commitment and progress, including the student's capacity and level of expertise to undertake increasingly complex tasks.

Keyboard Performance Practice 1700-1830

Syllabus

The study of historically-informed High-Baroque and Classic era performance practice (i.e. the varying conventions of performance that appear to have been prevalent among knowledgeable performers from the early 1700s to the 1820s) is an essential key to our understanding the incomplete record represented by Eighteenth and early-Nineteenth century musical notation.  The course is designed for students who, within the context of High-Baroque and Classic era repertoire, wish to mediate in a richly contextualised way between an historic past documented in the musical score of a work and its correlative aesthetic present. The course will include an examination of issues arising from historically-informed Eighteenth and early-Nineteenth century performance practice, such as for example, accentuation, articulation, tempo, ornamentation, rubato, notation, affect, and resultant conceptual, interpretative and aesthetic implications. This will almost certainly lead to a reassessment of both received and personal interpretative responses to High-Baroque and Classic era repertoire.

Indicative Assessment

One written assignment based on material presented in lectures.  'Course requirements satisfied' or otherwise.

Opera for non-Voice students

Syllabus

Involvement in an opera production in activities such as minor set construction, props sourcing, stage manager assistance, costume assistance or even playing a silent walk-on role. All activities assigned according to aptitude.

Indicative Assessment

Students will be assessed on preparation, participation, performance and/or punctual completion of assigned activities.  Course requirements satisfied or otherwise.

Orchestra for non-Performance students

Syllabus

Orchestra for non-performance majors provides students with the opportunity to perform important works from the standard orchestral repertoire as well as new works by Australian composers. The course develops skills in ensemble performance, orchestral rehearsal technique and aural development and provides a structured forum for non-performance students with the required instrumental skills to be actively involved in high level music making. The orchestra has input from all performance staff at the School of Music.

Enrolment is by arrangement with and approval of the relevant Area Coordinator of the particular instrument and the Orchestral Co-ordinator. Audition as directed by the Co-ordinator will be required in some circumstances.

Indicative Assessment

Pass/fail. Effort, commitment and progress, including the student's capacity and level of expertise. An attendance of not less than 80% of all scheduled rehearsals and performances as directed by the co-ordinator of the orchestral program is necessary to full the requirements.

Recording Ensemble

Syllabus

Class Time:  2-3 hours per week

On completion of this course students will be able to demonstrate familiarity with contemporary jazz styles, ensemble blending and interaction and effective rehearsal techniques of new original compositions.

Students will develop original compositions and arrangements by advanced composition students in weekly rehearsals.  Students will also develop performance skills in a recording studio as well as in live concert situation.

Indicative Assessment

Ensembles are graded pass or fail. Students will be assessed on ability to work coherently within a group, ensemble blending, improvisation and interaction. There is an 80% attendance requirement.  In every case of absence the student must arrange a deputy.

Part of the duties as ensemble members may include appearances at festivals, University concerts and performances for recruitment purposes. These commitments are unpaid and are considered part of the course requirements.

Styles in the Studio

Syllabus

Styles in the Studio is a class designed to develop the student's performance skills in the recording studio environment. A wide variety of material will be recorded each week in an actual recording session of three hours. Students will be presented with material that they have not previously seen or rehearsed, with the aim of developing their ability to interpret music quickly and precisely. The material recorded will consist of various styles of music ranging from television themes, TV commercials, pop songs, jazz, Latin, rock songs, movie themes etc.

Students will learn how to work with a click track, overdub parts and work with midi tracks. The class will also take part in a mix-down session of some of their recording performances.

The class usually consists of a full rhythm section, five horns and two vocalists. Instrumental makeup is subject to change according the result of the audition process.

Acceptance into the class is through audition only. It is expected that students would enrol in this course for Semesters 1 and 2 in any given year.

Indicative Assessment

Pass/Fail based on effort, commitment and progress, including the student's capacity and level of expertise to undertake increasingly complex tasks.

The information published on the Study at ANU 2010 website applies to the 2010 academic year only. All information provided on this website replaces the information contained in the Study at ANU 2009 website.