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  2. Principal Practice Project [MUS4114]

School: Western Australian 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 Project

  • Unit Code

    MUS4114

  • Year

    2016

  • Enrolment Period

    1

  • Version

    1

  • Credit Points

    20

  • Full Year Unit

     N

  • Mode of Delivery

    On Campus

Description

This unit is designed to aid students in the refinement of their craft as an independent creative artist at an advanced level, and to provide the opportunity for consolidation of prior learning. Students will develop and realise a significant musical project in their area of specialisation that reflects high professional standards in all its aspects. The principal practice specialisation should fall within one of five broad areas: classical performance, jazz performance, composition, screen composition, or music technology. Supporting ancillary studies will also be undertaken relevant to the students needs and vocational interests, subject to the approval of staff.

Prerequisite Rule

Students must pass 1 units from MUS4111

Equivalent Rule

Unit was previously coded MUS5114

Learning Outcomes

On completion of this unit students should be able to:

  1. Define relevant hardware and software applications; and,
  2. Demonstrate a high level of technical competence in recording, mixing, mastering, and production skills.
  3. Generate a project in music production, software development, sound installation, electronic music composition, or live electronic music performance.
  4. If specialising in Classical Performance: Demonstrate a high level of technical competency. Work independently to formulate interpretations of musical works, and improve instrumental or vocal techniques. Interpret musical works from a wide variety of styles and idioms. Demonstrate (through performance) a sound knowledge of historical performance practices. Plan and prepare a professional recital. Maintain high standards of performance throughout an extended performance.
  5. If specialising in Composition: Complete a compositional project. Generate a public performance of the composition project. Demonstrate a high level of technical competence in a chosen compositional style. Produce a score and parts (folio) ready for publishing. Outline Australian contemporary compositional practices.
  6. If specialising in Jazz Performance: Apply critical evaluation skills. Implement professional rehearsal and preparation techniques for group performance. Design and produce a recital of professional quality. Demonstrate advanced knowledge of technique, improvisation, style, and repertoire, relevant to performing as a Jazz musician. Demonstrate the ability to collaborate successfully with practitioners from other arts disciplines.
  7. If specialising in Music Technology: Generate a project in music production, software development, sound installation, electronic music composition, or live electronic music performance. Demonstrate a high level of technical competence in recording, mixing, mastering, and production skills. Define relevant hardware and software applications. Review creative works in a similar genre to the project.
  8. If specialising in Screen Composition: Complete, record and deliver a major compositional project for screen. Plan meetings and rehearsals to a deadline. Demonstrate a high level of technical competence in their chosen compositional style. Identify a range of contemporary screen composition practices. Collaborate effectively with a team.
  9. Review creative works in a similar genre to the project.

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. Researching and writing programme notes.
  2. If specialising in Composition: Advanced composition techniques. Instruction in researching and writing programme notes. Preparation for a recital, rehearsing musicians and ensembles. Promotion of recital. Australian contemporary music review and analysis of relevant works. Supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.
  3. If specialising in Jazz Performance: Planning a professional recital project. Rehearsal preparation techniques. Improvisation and compositional skills at a professional level. Rehearsing and performing with performing artists from other disciplines. Supporting ancillary studies.
  4. If specialising in Music Technology: The application of creativity to music technology. Techniques of recording, mixing, mastering, and music production. Researching and writing programme notes. Presentation techniques relevant to the project. Supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.
  5. If specialising in Screen Composition: Composition techniques for screen. Working as part of a collaborative team. Australian screen music overview. Organising recording, mixing, mastering and synchronisation of composition to a screen project. 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. This may also 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.

ON CAMPUS
TypeDescriptionValue
ProjectPrinciple Study Final Project100%

Text References

  • 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.
  • Treitler, L. & Strunk, O. (1998). Source readings in music history. NY: WW Norton & Co.
  • Barzun, J. (2001). From dawn to decadence: 500 Years of Western Cultural Life, 1500 to the Present. Harper Perennial.
  • Burkholder, P., Palisca, C. V., & Donald J. Grout (2006). A history of western music. (7th ed.). NY: WW Norton & Co.
  • Lawson, C., & Stowell, R. (1999). The historical performance of music: An introduction. Cambridge: Cambridge University Press.
  • Liebman, D. (1991). A chromatic approach to Jazz harmony and melody. Germany: Advance Music.

Disability Standards for Education (Commonwealth 2005)

For the purposes of considering a request for Reasonable Adjustments under the Disability Standards for Education (Commonwealth 2005), inherent requirements for this subject are articulated in the Unit Description, Learning Outcomes and Assessment Requirements of this entry. The University is dedicated to provide support to those with special requirements. Further details on the support for students with disabilities or medical conditions can be found at the Access and Inclusion website.

Academic Misconduct

Edith Cowan University has firm rules governing academic misconduct and there are substantial penalties that can be applied to students who are found in breach of these rules. Academic misconduct includes, but is not limited to:

  • plagiarism;
  • unauthorised collaboration;
  • cheating in examinations;
  • theft of other students' work;

Additionally, any material submitted for assessment purposes must be work that has not been submitted previously, by any person, for any other unit at ECU or elsewhere.

The ECU rules and policies governing all academic activities, including misconduct, can be accessed through the ECU website.

MUS4114|1|1

School: Western Australian 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 Project

  • Unit Code

    MUS4114

  • Year

    2016

  • Enrolment Period

    2

  • Version

    2

  • Credit Points

    20

  • Full Year Unit

     N

  • Mode of Delivery

    On Campus

Description

This unit is designed to aid students in the refinement of their craft as an independent creative artist at an advanced level, and to provide the opportunity for consolidation of prior learning. Students will develop and realise a significant musical project in their area of specialisation that reflects high professional standards in all its aspects. The principal practice specialisation should fall within one of four broad areas: classical performance, jazz performance, contemporary music, or composition/music technology. Supporting ancillary studies will also be undertaken relevant to the students needs and vocational interests, subject to the approval of staff.

Prerequisite Rule

Students must pass 1 units from MUS4111

Equivalent Rule

Unit was previously coded MUS5114

Learning Outcomes

On completion of this unit students should be able to:

  1. If specialising in Classical Performance:
  2. Implement professional rehearsal and preparation techniques for group performance.
  3. Design and produce a recital of professional quality.
  4. Demonstrate advanced knowledge of technique, improvisation, style, and repertoire, relevant to performing as a Jazz musician.
  5. Demonstrate the ability to collaborate successfully with practitioners from other arts disciplines.
  6. If specialising in Composition:
  7. Complete a compositional project.
  8. Generate a public performance of the composition project.
  9. Demonstrate a high level of technical competence in a chosen compositional style.
  10. If relevant to style, produce a score and parts (folio) ready for publishing.
  11. Demonstrate a high level of technical competence in recording, mixing, mastering, and production skills.
  12. Demonstrate a high level of technical competency.
  13. Define relevant hardware and software applications.
  14. Review creative works in a similar genre to the project.
  15. If specialising in Contemporary Music:
  16. Apply critical evaluation skills.
  17. Implement professional rehearsal and preparation techniques for group performance.
  18. Design and produce a recital or recorded musical output of professional quality.
  19. Demonstrate advanced knowledge of technique, improvisation, song-composition, style, and repertoire, relevant to performing as a Contemporary musician.
  20. Demonstrate the ability to collaborate successfully with practitioners from other arts disciplines.
  21. Work independently to formulate interpretations of musical works, and improve instrumental or vocal techniques.
  22. Interpret musical works from a wide variety of styles and idioms.
  23. Demonstrate (through performance) a sound knowledge of historical performance practices.
  24. Plan and prepare a professional recital.
  25. Maintain high standards of performance throughout an extended performance.
  26. If specialising in Jazz Performance:
  27. Apply critical evaluation skills.
  28. If specialising in Classical Performance: Demonstrate a high level of technical competency. Work independently to formulate interpretations of musical works, and improve instrumental or vocal techniques. Interpret musical works from a wide variety of styles and idioms. Demonstrate (through performance) a sound knowledge of historical performance practices. Plan and prepare a professional recital. Maintain high standards of performance throughout an extended performance.

Unit Content

  1. If specialising in Classical Performance:
  2. Rehearsal preparation techniques.
  3. Improvisation and compositional skills at a professional level.
  4. Rehearsing and performing with performing artists from other disciplines.
  5. Supporting ancillary studies.
  6. If specialising in Composition:
  7. Advanced composition techniques.
  8. Instruction in research and writing programme notes.
  9. Promotion of recital.
  10. Australian contemporary music review and analysis of relevant works.
  11. Techniques of recording, mixing, mastering, and music production.
  12. Instrumental or vocal techniques.
  13. Presentation techniques relevant to the project.
  14. Supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.
  15. If specialising in Contemporary Music:
  16. Planning a professional recital project.
  17. Rehearsal preparation techniques.
  18. Song-writing and improvisation skills at a professional level.
  19. Professional production and recording techniques.
  20. Rehearsing and performing with performing artists from other disciplines.
  21. Supporting ancillary studies.
  22. Repertoire studies, musical interpretation.
  23. Performance practices.
  24. Performance presentation.
  25. Supporting ancillary studies, as determined by consultation and approval of staff, to meet student needs and interests.
  26. Researching and writing programme notes.
  27. If specialising in Jazz Performance:
  28. Planning a professional recital project.

Additional Learning Experience Information

Individual tuition, public performances, projects. This may also 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.

ON CAMPUS
TypeDescriptionValue
ProjectPrincipal Study Final Project100%

Text References

  • Treitler, L., & Strunk, O. (1998). Source readings in music history. New York, NY: WW Norton & Co.
  • Lawson, C., & Stowell, R. (1999). The historical performance of music: An introduction. Cambridge, United Kingdom: Cambridge University Press.
  • Burkholder, P., Palisca, C. V., & Grout, D. (2006). A history of western music. (7th ed.). New York, NY: WW Norton & Co.
  • Baker, D. (1976). Jazz improvisation. USA: Music Workshop Publications.
  • Liebman, D. (1991). A chromatic approach to Jazz harmony and melody. Germany: Advance Music.
  • Haerle, D. (1980). The Jazz language. USA: Studio P.R.
  • Crook, H. (1991). How to improvise. Germany: Advance Music.
  • Barzun, J. (2001). From dawn to decadence: 500 years of western cultural life, 1500 to the present. Harper Perennial.

Disability Standards for Education (Commonwealth 2005)

For the purposes of considering a request for Reasonable Adjustments under the Disability Standards for Education (Commonwealth 2005), inherent requirements for this subject are articulated in the Unit Description, Learning Outcomes and Assessment Requirements of this entry. The University is dedicated to provide support to those with special requirements. Further details on the support for students with disabilities or medical conditions can be found at the Access and Inclusion website.

Academic Misconduct

Edith Cowan University has firm rules governing academic misconduct and there are substantial penalties that can be applied to students who are found in breach of these rules. Academic misconduct includes, but is not limited to:

  • plagiarism;
  • unauthorised collaboration;
  • cheating in examinations;
  • theft of other students' work;

Additionally, any material submitted for assessment purposes must be work that has not been submitted previously, by any person, for any other unit at ECU or elsewhere.

The ECU rules and policies governing all academic activities, including misconduct, can be accessed through the ECU website.

MUS4114|2|2