Handbook : Unit informationEdith Cowan University

Faculty of Education and Arts

School: WA Academy of Performing Arts

This unit information may be updated and amended immediately prior to semester. To ensure you have the correct outline, please check it again at the beginning of semester.

• Unit Title

  Principal Practice Preparation

• Unit Code

  MUS4111

• Year

  2015

• Enrolment Period

  1

• Version

  1

• Credit Points

  20

• Full Year Unit

  N

• Mode of Delivery

  On Campus
  

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Description

This unit is designed to prepare musicians for the execution of their principal practice specialisation at a professional level, with the view of developing skills necessary to work independently as a creative artist. The principal practice specialisation should fall within one offive broad areas: classical performance, jazz performance, composition, screen composition, or music technology. Students will develop and realise a musical project in their area of specialisation that, while being of modest length, reflects high professional standards in all aspects of their craft. Supporting ancillary studies will also be undertaken relevant to the students needs and vocational interests, subject to the approval of staff.

Learning Outcomes

On completion of this unit students should be able to:

1. Analyse creative works.
2. Apply critical self-assessment skills.
3. Apply historical performance practices. If specialising in,Jazz Performance
4. Compose new works for the solo artist and the Jazz ensemble; and,
5. Construct effective improvised solos on complex Jazz forms and original repertoire.
6. Create scores and parts where appropriate; and,
7. Critically review contemporary screen music compositional practice; and,
8. Demonstrate instrumental technique in a recital performance environment.
9. Demonstrate technical competence in their chosen compositional style.
10. Demonstrate technical competency.
11. Devise a music production, music software development, sound installation, or composed electronic music performance project.
12. Devise new interpretations of standard repertoire, projects, arrangements and original compositions. If specialising in,Composition
13. Discuss Australian contemporary compositional practices. If specialising in,Screen Composition
14. Draft a compositional project for screen.
15. Identify contractual and copyright obligations for screen music. If specialising in,Music Technology
16. Identify contractual and copyright obligations.
17. Interpret a wide variety of styles and idioms; and,
18. Memorise and interpret the recital repertoire.
19. Perform with advanced instrumental skill in a small ensemble and solo setting.
20. Produce a draft a major compositional work.
21. Select a screen music project.
22. Summarise a range of relevant hardware and software applications; and,
23. Summarise the history of screen music composition.
24. Test composition ideas in a practical setting.

Unit Content

1. If specialising in Classical Performance: Instrumental or vocal techniques, repertoire studies, musical interpretation, performance practices, performance presentation, supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests and independent learning practices.
2. If specialising in Composistion: Composition techniques, recital repertoire, advanced improvisation and interaction methods, interpretive and aesthetic techniques appropriate to the Jazz genre and the recital programme, development of a unique musical identity, application of performance presentation techniques and supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.
3. If specialising in Jazz Performance: Recital programming techniques, recital repertoire, advanced Improvisation and interaction methods, interpretive and aesthetic techniques appropriate to the Jazz genre and the recital programme, development of a unique musical identity, application of performance presentation techniques and supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.
4. If specialising in Music Technology: Creative techniques, analysis of creative works, use of electronic technology for music creation and documentation, planning a concert, presentation, or music production project and supporting ancillary studies, as determined by consultation and approval of staff, to meet the needs and interests.
5. If specialising in Screen Composition: Composition techniques for screen, introduction to screen production projects, screen music history overview, copyright and contracts, collaborative structures and planning for a screen music project and supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.

Additional Learning Experience Information

Individual tuition, public performances, projects. May include workshops, lectures, ensembles or individual projects.

Assessment

GS1 GRADING SCHEMA 1 Used for standard coursework units

Students please note: The marks and grades received by students on assessments may be subject to further moderation. All marks and grades are to be considered provisional until endorsed by the relevant Board of Examiners.

Due to the professional competency skill development associated with this Unit, student attendance/participation within listed in-class activities is compulsory. Students failing to meet participation standards as outlined in the unit plan may be awarded an I Grade (Fail - incomplete). Students who are unable to meet this requirement for medical or other reasons must seek the approval of the unit coordinator.

Text References

• ^ Hickman, R. (2005). Reel music: exploring 100 years of film music. UK: WW Norton & Co.
• ^ Cope, D. (1997). Techniques of the contemporary composer. USA: Schirmer.
• ^ Williams, D. B. & Webster, P. R. (1999). Experiencing music technology. New York: Schirmer Books.
• Sadie, S. & Tyrell, J. (ed.) (2001). The new grove dictionary of music and musicians. London: Macmillan.
• Treitler, L. & Strunk, O. (1998). Source readings in music history. NY: WW Norton & Co.
• Baker, D. (1976). Jazz improvisation. U.S.A: Music Workshop Publications.
• Crook, H. (1991). How to improvise. Germany: Advance Music.
• Haerle, D. (1980). The Jazz language. U.S.A: Studio P.R.
• Liebman, D. (1991). A chromatic approach to Jazz harmony and melody. Germany: Advance Music.
• Burkholder, P., Palisca, C. V., & Donald J. Grout (2006). A history of western wusic. (7th ed.). NY: WW Norton & Co.
• Barzun, J. (2001). From dawn to decadence: 500 Years of Western Cultural Life, 1500 to the Present. Harper Perennial.
• Lawson, C., & Stowell, R. (1999). The historical performance of music: An introduction Cambridge: Cambridge University Press.

^ Mandatory reference

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