Faculty of Arts

& Social Sciences

School of the Arts and Media

MUSC1603

Materials and structures of music 2

Session 2, 2014

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Course Code
Session 2, 2014
CRICOS Provider Code: 00098G



1. Course overview

FACULTY Arts and Social Sciences

SCHOOL or DEPARTMENT School of the Arts and Media
COURSE CODE MUSC1603
COURSE NAME Materials & structures of music 2
Session 2 Year 2014
Harmony lecture (G17) Friday 1200-1300 or 1300-1400
Aural tutorial (G18) Monday 0900, 1000, 1100, 1200, 1300, or 1400
Rhythm workshop (G18) Wednesday 1000, 1100, 1400 or 1500
or Thursday 1000, 1100

2. Table of Contents
Staff contact details 2
School of the Arts and Media contact information 2
Attendance requirements 2
Essential information for FASS/SAM students 3
Course details 3
Rationale for the inclusion of content and teaching approach 4
Teaching strategies 5
Assessment 5
Academic honesty and plagiarism 7
Course schedule 8
Expected resources for students 10
Course evaluation and development 11

3. Staff Contact Details

Position Name Email Contact
Course convenor & Kim Burwell [email protected] Normal consultation hours:
Harmony lecture Mondays 1300-1400,
Fridays 1000-1100.
Please email for an
appointment.
Aural tutorial David Taylor [email protected] Please contact by email
Rhythm workshop Steven [email protected] Please contact by email
Machamer

4. School of the Arts and Media Contact Information

Room 312, level 3 Robert Webster Building

Phone: 9385 4856
Email: [email protected]

5. Attendance Requirements

A student is expected to attend all class contact hours.

A student who attends less than 80% of class contact hours without justification may be awarded a final
grade of UF (Unsatisfactory Fail).
A student who arrives more than 15 minutes late may be penalised for non-attendance.
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Course Code
Session 2, 2014
CRICOS Provider Code: 00098G



If a student experiences illness, misadventure or other occurrence that makes absence from a
class/activity unavoidable, they should seek permission from the Course Authority. The application should
be accompanied by an original or certified copy of a medical certificate or other form of appropriate
evidence.
A Course Authority may excuse a student from classes for up to one month. A student seeking approval
to be absent for more than one month must apply in writing to the Dean.
A student who has submitted the appropriate documentation but attends less than 66% of the
classes/activities will be asked by the Course Authority to apply to discontinue the course without failure.
For more information about the FASS attendance protocols, see the SAM policies and guidelines
webpage: https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/
Attendance at lectures, screenings and tutorials will be recorded. If you are more than 15 minutes late,
you are deemed not to have attended. It is your responsibility to ensure your name has been marked off
at each class.

6. Essential Information For FASS/SAM Students

For essential student information relating to: attendance requirements; requests for extension; review of marks;
occupational health and safety; examination procedures; special consideration in the event of illness or
misadventure; student equity and disability; and other essential matters, see the SAM Policies and Guidelines
webpage: https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/

7. Course details
Credit Points: 6

Summary of the Course:

This core course extends the students foundational knowledge of the materials, structures and processes of tonal
music and of the application of harmonic and melodic practices in post-1800 composition and other styles
including popular music and jazz. Students will develop technical knowledge and skill in the analysis and
application of melodic and harmonic elaboration, voice-leading, and musical form. Exercises in compositional craft
provide the student with the opportunity to demonstrate initiative and creativity. The course develops core skills in
musicianship and the ability to apply these in other areas of musical practice and research. Rhythm workshops
will enable students to further develop their aural skills through the perception and execution of rhythmically
complex music.

Aims of the Course:

This course aims to

1. provide students with knowledge of the materials, structures and processes of tonal music, beyond the
foundational level;
2. develop in the student the skills in analyzing diatonic melody, harmony and form in post-1800 musical
styles including popular music and jazz;
3. develop knowledge and skill in applying melodic and harmonic elaboration, voice-leading, and musical
form in post-1800 musical styles;
4. instill a deeper understanding and appreciation of the craft of composition;
5. provide students with the means to apply their developing technical skills to their own creative outputs
whether in composition or performance; and
6. develop core skills in musicianship, particularly music literacy, score reading, and the perception and
execution of complex rhythmic structures.

Student learning outcomes

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Course Code
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CRICOS Provider Code: 00098G



At the conclusion of this course the student will be able to:

1. master knowledge of the materials, structures, and processes of tonal music, beyond the foundational
level;
2. analyse diatonic melody, harmony and form in post-1800 musical styles, including popular music and
jazz;
3. apply knowledge and skills in melodic and harmonic elaboration, voice-leading, and musical form in post-
1800 musical styles, to core works
4. apply their developing musical knowledge and skill to music making, whether through performance or
composition;
5. demonstrate core skills in musicianship, particularly music literacy, score reading, and the execution of
complex musical structures.

Graduate Attributes

Students will be encouraged to develop the following Graduate Attributes by undertaking the selected activities
and knowledge content. These attributes will be assessed within the prescribed assessment tasks.

At the conclusion of this course students will be able to demonstrate:

1. an in-depth engagement with discipline-specific knowledge, such as instrumental or vocal performance,

composition, score reading and writing skills, inner hearing, music theory, and repertoire knowledge;
2. information literacy: the skills to locate, evaluate and use relevant information; and
3. high levels of oral and written communication, supported with discipline-based forms of communication
such as scores and musical performance.

8. Rationale for the inclusion of content and teaching approach

For harmony lectures

Lectures and tutorials are augmented with sound recordings, powerpoint presentations, and class quizzes. The
harmonic concepts discussed in this class are also relevant to other aspects of the study of music and are an
essential part of learning basic analytical strategies designed for use in musicological research.

The analysis of numerous examples from the literature provides students with an opportunity to further develop
the capacity for analytical and critical thinking and for creative problem-solving. Students are asked to compose a
short work in a particular harmonic style discussed during the course, thus providing the opportunity for the
expression of the students capacity for enterprise, initiative and creativity.

For Aural workshops

Aural workshops offer intensive drills and exercises designed to develop aural perception, sight-singing abilities,
and developing pitch accuracy.

For rhythm studio

The Rhythm studio focuses on the development of a better understanding of many aspects of rhythm in music via
the intensive application of practical exercises in performance, rhythmic dictation exercises, and the opportunity to
develop the skills needed when identifying and transcribing rhythm in selected examples from the literature

9. Teaching strategies

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Course Code
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CRICOS Provider Code: 00098G



All students attend a weekly one-hour lecture on music theory and harmony, a weekly one-hour workshop on
aural training, and a weekly one-hour rhythm studio. All students are also required to complete Laboratory work
using the Auralia ear-training software that helps the student develop their aural skills at a self-administered level
according to ability.

10. Assessment
In order to pass this course, you must make a serious attempt at ALL assessment tasks. This is a SAM
requirement.

Assessment summary

Assessment task Weight Learning Date

outcomes &
Graduate
attributes
Harmony portfolio 60% LOs 1, 2, 3, 4; a. A. In-class quiz, week 4;
divided into 3 GAs 1, 2, 3 b. B. In-class quiz, wk 8;
equal parts
c. C. Composition due wk 12 (24 Oct).
Aural workshop (A, B) 25% LOs 1, 2, 3; A. Four in-class quizzes, wk 4, 6, 9, 11;
& divided into 4 GAs 1, 4, 5 B. Sight-singing test, wk 13;
equal parts
Rhythm studio (C, D) C. Class assessments, wk 4, 6, 9, 11;
D. Class exercise & test, wk 13.
Auralia 15% LOs 1, 2, 3; A. Progress in independent laboratory
work, monitored at two random
divided into GAs 1, 4, 5
stages during the semester;
10% + 5 %
B. Test, wk 11.

Assessment details

Harmony lecture: Harmony portfolio 60%

The in-class quizzes will be based on the knowledge and skills that accumulate during the course. Advice about
preparing for these will be given in lectures, and will include reading from the course text and exercises from the
text and its associated website.

The final composition assignment will refer to harmonic vocabulary and concepts of melodic writing, texture and
form, as addressed in lectures.

Aural workshop and Rhythm studio: Aural / rhythmic exercise 25%

The Aural workshop helps gauge how well the student has developed their aural perception and command of the
foundational musical knowledge through the course. Students will be able to gauge their progress through a
series of four in-class quizzes, as scheduled, and a sight-singing Test will held during normal Aural workshop
time, in Week 13.

In Rhythm studio there will be two exercises, the first divided among five short components scheduled during the
semester, and the second administered in Week 13.
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Course Code
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CRICOS Provider Code: 00098G



Auralia assessment: Auralia laboratory 15%

The laboratory work is an essential component of the course assessment, and allows students to develop the
skills that will enable them to accurately identify melodic, harmonic and rhythmic structures as prescribed by the
Auralia ear-training computer programme. Students can develop their skills at their own pace and progress
forward through more difficult levels as their abilities improve.

Progress, and rate of completion of exercises and levels, with the Auralia programme will be monitored by the
aural tutor, David Taylor, twice during the semester. Monitoring will occur at random times during semester, so
students are encouraged to begin immediately and maintain a consistent rate of progress.

The Auralia test may be completed at any time with the time-frame set by David Taylor (the test may be open for
two days, for example), but students may attempt the test only once during that time period.

Submission of Assessment Tasks

Most of the assessment tasks take place during scheduled classes. The composition will be due by 4.00pm in
hard copy at the School office.

Late Submission
PLEASE NOTE THAT THESE RULES APPLY FOR ALL COURSES IN SAM.
If any written assignment is submitted after the due date, a penalty of 3% per day (including Saturday, Sunday
and public holidays) will be imposed for up to 2 weeks. For example, if you are given a mark of 72 out of 100 for
an essay, and your essay were handed in two days late, it would attract a penalty of 6% and the mark would be
reduced to 66%. If the same essay were handed in seven days late (i.e. a penalty of 21%) it would receive a
mark of 51%. If your assignment is not submitted within 2 weeks of its due date, it will receive a mark of 0. For
more information on submission of late work, consult the FASS assessment protocols at
https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/.

Extension Procedure

A student seeking an extension should apply through the Facultys online extension tool available in LMS
before the due time/date for the assessment task.
The Course Authority should respond to the request within two working days.
The Course Authority can only approve an extension of up to five days. A student requesting an
extension of more than five days should complete an application for Special Consideration.
The Course Authority advises their decision through the online extension tool.
If a student is granted an extension, failure to comply will result in a penalty. The penalty will be invoked
one minute past the approved extension time.
A student who missed an assessed activity held within class contact hours should apply for Special
Consideration via myUNSW.
This procedure does not apply to assessment tasks that take place during regular class hours or any task
specifically identified by the Course Authority as not subject to extension requests.
For more information, see the FASS extension protocols on the SAM policies and guidelines webpage:
https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/

Special Consideration
In the case of more serious or ongoing illness or misadventure, you will need to apply for Special Consideration.
For information on Special Consideration please go to this URL:
https://my.unsw.edu.au/student/atoz/SpecialConsideration.html
Applications for Special Consideration must normally be received within three working days of the missed
assessment task or submission date.

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CRICOS Provider Code: 00098G



Students who are prevented from attending a substantial amount of the course may be advised to apply to
withdraw without penalty. This will only be approved in the most extreme and properly documented cases.

Criteria for assessment

Tasks based on harmony will be assessed on whether the writing is accurate and effective, with attention as
appropriate to chord identification and choice, voice-leading and texture.

Tasks based on composition will be assessed on whether the work is inventive and coherent, with attention as
appropriate to style and idiomatic instrumental writing.

Tasks based on aural skills will be assessed on whether the responses are accurate, prompt and detailed.

Notation and presentation will be taken into account for all written tasks.

11. Academic honesty and plagiarism

Plagiarism is using the words or ideas of others and presenting them as your own. It can take many forms,
from deliberate cheating to accidentally copying from a source without acknowledgement.

UNSW groups plagiarism into the following categories:

Copying: using the same or very similar words to the original text or idea without acknowledging the
source or using quotation marks. This also applies to images, art and design projects, as well as
presentations where someone presents anothers ideas or words without credit.

Inappropriate paraphrasing: changing a few words and phrases while mostly retaining the original
structure and information without acknowledgement. This also applies in presentations where someone
paraphrases anothers ideas or words without credit. It also applies to piecing together quotes and
paraphrases into a new whole, without referencing and a students own analysis to bring the material
together.

Collusion: working with others but passing off the work as a persons individual work. Collusion also
includes providing your work to another student before the due date, or for the purpose of them plagiarising
at any time, paying another person to perform an academic task, stealing or acquiring another persons
academic work and copying it, offering to complete another persons work or seeking payment for completing
academic work.

Duplication: submitting your own work, in whole or in part, where it has previously been prepared or
submitted for another assessment or course at UNSW or another university.

Details of what plagiarism is can be found on the Learning Centre's Website Plagiarism & Academic Integrity
website (http://www.lc.unsw.edu.au/plagiarism), in the myUNSW student A-Z: Guide
https://my.unsw.edu.au/student/atoz/Plagiarism.html and in Appendix A of the Student Misconduct
Procedure (pdf- https://www.gs.unsw.edu.au/policy/documents/studentmisconductprocedures.pdf).

The Learning Centre also provides substantial education written materials, workshops, and tutorials to aid
students, for example:

Correct referencing practices;

Paraphrasing, summarising, essay writing and time management
Appropriate use of and attribution for a range of materials including text, images, formulae and concepts.

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Individual assistance is available on request from The Learning Centre. Students are also reminded that
careful time management is an important part of study and one of the identified causes of plagiarism is poor
time management. Students should allow sufficient time for research, drafting and proper referencing of
sources in preparing all assessment items.

12. Course schedule

Wk Date Class Location Content Suggested readings / listening

1 Friday 1/8 Harmony G17 Introduction & revision. The Musicians Guide to Theory and
Systems of analytic notation Analysis, by Clendinning & Marvin;
W.W. Norton & Co., New York, 2010.
Auralia 140, or Independent exercises begin
home immediately
2 Monday 4/8 Aural G18 Recapping the basics. Folk song: Barber: Hermit Songs (1952-3)
workshop pitch, melody
Wednesday Rhythm G18 The signs of duration. Basic Rhythm Training, by Robert
6/8 studio Clarifications of note-values, Starer; Hal Leonard
or rest, dots, and ties.
Thursday
7/8
Friday 8/8 Harmony G17 Embellishment tones in the
lecture repertoire
3 Monday Aural G18 The late Renaissance: melody & Victoria: O magnum mysterium (1572)
11/8 workshop texture; instruments & voices
Wednesday Rhythm G18 Natural divisions of the binary
13/8 studio beat. Exercises in plain note
or values.
Thursday
14/8
Friday 15/8 Harmony G17 Motivic and phrase structures in
lecture the repertoire
4 Monday Aural G18 The Baroque: melody, harmony, Mendelssohn: A Midsummer Night's
18/4 workshop form. First listening quiz Dream Overture (1826)
Wednesday Rhythm G18 In-class assessment (1): binary
20/8 studio notes, signs of duration.
or Artificial divisions: tuplets. (in
Thursday class exercises)
21/8
Friday 22/8 Harmony G17 In class test
lecture
5 Monday Aural G18 The Baroque II: rhythm, Brahms: Symphony No 4 (1884-5)
25/8 workshop counterpoint, texture & form
(performance)
Wednesday Rhythm G18 Natural divisions; the dotted
27/8 studio unit. (in class exercises)
or
Thursday
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28/8
Friday 29/8 Harmony G17 Complex textures and
lecture instrumental writing
6 Monday 1/9 Aural G18 The Viennese Classical period: Beethoven: Piano Concerto No 5 in E
workshop orchestration and form. Second flat Major, Emperor (1809-11)
listening quiz
Wednesday Rhythm G18 In class assessment (2): tuplets
3/9 studio and dotted note values.
or Artificial divisions of binary and
Thursday dotted units
4/9
Friday 5/9 Harmony G17 Revision of secondary dominants
lecture and leading tone chords
7 Monday 8/9 Aural G18 The Viennese Classical period II: Ligeti: Lux Aeterna (1966)
workshop words and music, sonata form
(sonata principle)
Wednesday Rhythm G18 Comparative counting: numeric You Can Ta Ka Di Mi This!, by Todd
10/9 studio system, American syllables, Isler; Gerard & Sarzin Publishing Co.
or Indian syllables. (in class 2005
Thursday exercises)
11/9
Friday 12/9 Harmony G17 Modulation
lecture
8 Monday Aural G18 Music of the Romantic period: Schumann: Carnaval (1834-5)
15/9 workshop tonality and form
Wednesday Rhythm G18 Polyrhythms. How to notate The Essential Guide to Reading Rhythm,
17/9 studio correctly (in class exercises) www.billkezelos.com Publishing
or
Thursday
18/9
Friday 19/9 Harmony G17 In class test
lecture
9 Monday Aural G18 Music of the Romantic period II: Stravinsky: Symphonies of wind
22/9 workshop instrumentation and harmony. instruments (1947 version), Monk:
Third listening quiz Straight, no chaser; Davis: Nonet, Moon
dreams
Wednesday Rhythm G18 In-class-assessment (3) on
24/9 studio Counting, and Poly-rhythms.
or Review of conducting patterns
Thursday
25/9
Friday 26/9 Harmony G17 Melodic writing
lecture

MID SEMESTER BREAK

10 Monday PUBLIC
29/9 HOLIDAY
Wednesday Rhythm G18 Metric Modulations
8/10 studio
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or
Thursday
9/10
Friday 10/10 Harmony G17 Binary forms & song
lecture accompaniment

11 Monday Aural G18 Twentieth century: atonality, Berio: Sequenza 5 for trombone (1966),
13/10 workshop avant-garde music, aleatory Westlake: Onomatopoeia for bass
music. Fourth listening quiz clarinet and digital delay (1984)
Wednesday Rhythm G18 In-class-assessment (4) on
15/10 studio conducting patterns and Metric
or Modulations
Thursday (more in class exercises)
16/10
Friday 17/10 Harmony G17 Prep for final composition
lecture
12 Monday Aural G18 Jazz and pop
20/10 workshop
Wednesday Rhythm G18 Mixing the elements: singing
22/10 studio (intoning) rhythms, counting
or syllables, and conducting at the
Thursday same time.
23/10 Take home exam set for
individual assessment in week
13
Friday 24/10 Harmony G17 Composition assignment due
lecture
13 Monday Aural G18 Sight-singing test
27/10 workshop
Wednesday Rhythm G18 Individual assessment of take
29/10 studio home exam and rhythm sight-
or singing test.
Thursday
30/10

13. Expected Resources for students

Harmony text: The Musicians Guide to Theory and Analysis, by J. P. Clendinning & E. W. Marvin.
W.W. Norton & Co, New York, 2010.

Associated studyspace site:

Go to:
http://books.wwnorton.com/studyspace/Logon.aspx?SiteId=musictheory2&page=/college/music/theory-analysis2/;
Click on Register; provide the required information and use the code inside the cover of your textbook. You
should then be able to access everything on the StudySpace, minus the eBook and Noteflight Worksheets (unless
you have purchased them separately).

Other useful resources:

Basic Rhythm Training, by Robert Starer; Hal Leonard

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CRICOS Provider Code: 00098G



You Can Ta Ka Di Mi This!, by Todd Isler; Gerard & Sarzin Publishing Co. 2005
The essential Guide to Reading Rhythm, www.billkezelos.com Publishing

See also the university library service, http://info.library.unsw.edu.au/web/services/services.html

14. Course evaluation and development

Student feedback on this course is gathered periodically and is always carefully considered with a view to acting
on it constructively wherever possible. Feedback is gathered by various means including the Course and
Teaching Evaluation and Improvement (CATEI) Process.

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Course Code
Session 2, 2014
CRICOS Provider Code: 00098G