• Class Number 4128
  • Term Code 2930
  • Class Info
  • Unit Value 6 units
  • Mode of Delivery In Person
    • Edward Neeman
    • Alexander Hunter
    • Edward Neeman
  • Class Dates
  • Class Start Date 25/02/2019
  • Class End Date 31/05/2019
  • Census Date 31/03/2019
  • Last Date to Enrol 04/03/2019
SELT Survey Results

The Music Theory & Aural Skills courses are a series of courses compulsory for all Bachelor of Music students that develop core skills underpinning analytical and practical engagement in a variety of musical idioms, including common practice, jazz, and popular styles. This course introduces chromatic harmony and modulation, and advanced analytical techniques theory through the detailed study of music scores and excerpts. The theory component is complemented with the sequential and aligned development of relevant aural skills, including audiation (inner hearing) and aural awareness of advanced melodic, harmonic, and rhythmic structures, through individual and group listening, reading and performing (singing), dictation, and aural analysis activities.


Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

Upon successful completion of this course, students will have the knowledge and skills to:

  1. define and describe advanced elements of music, including those relating to pitch, melody, harmony, rhythm, and form;
  2. apply theoretical knowledge of advanced chromatic and analytical techniques using advanced terminology and notation;
  3. demonstrate an ability to fluently read and interpret advanced music notation, including inner hearing of melodic, harmonic, and rhythmic elements, through sight-singing, sight-reading, and performance activities; and
  4. aurally identify and creative interpret advanced elements of music, including pitch, chords, and harmony in tonal and atonal contexts, and advanced rhythms and polyrhythms, as demonstrated through notation and performance tasks.

Research-Led Teaching

Music theory and aural skills pedagogy is a research-intensive discipline, led by contemporary enquiry into best practice in theoretical and performance-based approaches to developing musicianship skills. Students will be exposed to research by leaders in the field of music theory and aural skills, informing their theoretical and aural studies in music.

Field Trips

Students are encouraged to attend as many concerts and industry events as possible, both on and off campus. Notices regarding symposiums, workshops, external learning opportunities and visiting scholars will be made available through Wattle during the teaching semester.

Additional Course Costs

Students will require manuscript paper and pens for this course. Students should make copies all submitted work and may incur small copying costs.

Examination Material or equipment

Students should bring the following materials to the final examination:

  • Pens (black or blue), pencils, eraser, ruler (transparent)

Required Resources

Students are required to ensure continual access to all of the following Required Resources throughout the semester. Owning a personal copy of the three main course texts is strongly recommended as these will be referred weekly in every class and assigned for reading and as a daily practice resource. These core texts will also be used regularly in MUSI3320 (Music Theory & Aural Skills 6), which follows on from MUSI3319.

Three Main Course Texts (owning a personal copy is strongly recommended)

1. Clendinning, Jane and Elizabeth Marvin. The Musician’s Guide to Theory and Analysis Workbook, 3rd ed. New York: Norton, 2016.

  • Students are required to obtain a personal copy of this workbook for in-class use. The text may be purchased from the campus bookstore from February. Class activities, worksheets and assignments from this text will be used in Theory workshops (twice weekly).
  • Orders for students have been made and will be available from the Co-Op bookstore by February.

2. Palmqvist, Bengt-Olov. Refinement of Rhythm. Vol. 2, Canberra: Bopac, 2006.

  • Students will need their own copy in order of this text to undertake regular practice (multiple times spread over each week), to be fully prepared for individual and group in-class performances every week.
  • Orders for students have been made and will be available from the Co-Op bookstore by February.
  • Please note this is not the Supplement for Rhythmic Dictation, which is not required.)

3. Edlund, Lars. Modus Vetus: Sight Singing and Ear-Training in Major/Minor Tonality. Stockholm: AB Nordiska Musikförlaget, 1976.

  • Students will need their own copy in order of this text to undertake regular practice (multiple times spread over each week), to be fully prepared for individual and group in-class performances every week.
  • Orders for students have been made and will be available from the Co-Op bookstore by February.
  • This book is also required in MUSI2004, MUSI3319 and MUSI3320.

Other Course Texts (recommended)

1. Clendinning, Jane and Elizabeth Marvin. The Musician’s Guide to Theory and Analysis, 3rd ed. New York: Norton, 2016.

  • Students are required to arrange continual access to this text through the semester. Online access is available through the link above, or students may choose to purchase a hard copy book.
  • This text will be used in Semester 2 also (MUSI3320).
  • The text book is also available on reserve at the Art & Music (both 2nd and 3rd editions).
  • An online (E-book) version (2nd edition) is available at a much lower price point and can be downloaded at: http://www.wileydirect.com.au/buy/musiciansguide-to-theory-and-analysis-2nd-edition
  • Note: content differences between the second and third editions are minimal and will be accounted for in the readings and exercises prescribed on Wattle.

2. Palmqvist, Bengt-Olov. Refinement of Rhythm : Supplement for Rhythmic Dictation. Vol. 2. Canberra: Bopac, 2006.

  • Recommended if you would like to further develop your skills in rhythmic (and melodic) dictation and transcription. A copy is on reserve at the Art & Music Library.
  • This text will be a useful reference in Semester 2 (MUSI3320).
  • The text book is on reserve at the Art & Music Library.

Manuscript paper and writing implement are required at all Theory and Aural classes through the semester.

Recommended Resources

Students are encouraged to use contemporary literature in music theoretical studies to support their learning. A supporting bibliography is provided below, and additional sources will be provided during the semester.

Students should bring manuscript paper, writing paper, pens, pencils, ruler (transparent), eraser, to all classes or as directed by the lecturer. it is recommended that students make use of music notation software where appropriate, such as Sibelius (version 5 and later), Finale, and Lilypond. Sibelius 7.5 is installed on many computers around campus.

Students may wish to refer to the following textbooks and resources that inform the topics covered throughout the course. Most of these can be found in the Art & Music Library or through ANU E-Resources.

  • Edlund, Lars. Modus Novus: studies in reading atonal melodies. Stockholm: AB Nordiska Musikförlaget, 197-
  • Gauldin, Robert. Harmonic Practice in Tonal Music, 2nd ed. New York: Norton, 2004.
  • Karpinski, Gary S. Manual for Ear Training and Sight Singing. New York: Norton, 2007.
  • Levine, Mark. The Jazz Theory Book. Petaluma: Sher Music, 1995.
  • Palmqvist, Bengt-Olov. Refinement of Rhythm : Supplement for Rhythmic Dictation. Vol. 2, Canberra: Bopac, 2006. (Accompanying digital workbook is freely available, for use regularly in Aural Lectures.)
  • Phillips, Joel, Paul Murphy, Elizabeth West Martin and Jane Piper Clendinning. The Musician’s Guide to Aural Skills. 2nd Ed. Vol. 2: Ear-Training and Composition. New York: Norton, 2011.
  • Rawlins, Robert and Bahha, Nor Eddine. Jazzology: the encyclopedia of jazz theory for all musicians, Milwaukee, WI: Hal Leonard, 2005.
  • Turek, Ralph, Theory for Today’s Musician, 2nd ed., Taylor and Francis, 2014. (Available here: http://library.anu.edu.au/record=b3598879)
  • Turek, Ralph, Theory for Today’s Musician: Workbook, 2nd ed., Taylor and Francis, 2014. (Available here: http://library.anu.edu.au/record=b3598880)
  • van der Geld, Tom. New Ear Training for Rock, Pop and Jazz: A Complete Course for the Jazz, Rock and Pop Musician. 2 Vols. Mainz: Schott, 2011.

Staff Feedback

Students will be given feedback in the following forms in this course:

  • Written comments, returned on submitted papers
  • Feedback to the entire class, provided during class meetings
  • Verbal comments, in office hours/meetings

As part of feedback, students will have the opportunity to review marks or grades for most assessment items, such as written assignments. However, note that the final mark awarded for the course may be subjected to moderation as deemed necessary. This is partly to ensure parity and fairness across the whole course, and the process would involve discussions between all academic staff involved in the teaching and assessment for this course.

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.

Other Information

Referencing requirements

While ANU does not require a specific citation style, research in Music Theory/Composition is typically cited using the Chicago Manual of Style. See the following link for details:


Class Schedule

Week/Session Summary of Activities Assessment
1 Theory Topics: Course introduction and diagnostic; diatonic modulation (Chapter 22)* Rhythm (RoR Vol. 2): Ch. 1 – subdivisions of basic beat (Rhy)
2 Theory Topics: Applied dominants; small forms (Chapter 22, 23) Rhythm (RoR Vol. 2): Ch. 2 & 3 – simple and extended dotted figures (Rhy) Task 1, 5
3 Theory Topics: Invention; Fugue (Chapter 24) Rhythm (RoR Vol. 2): Ch. 4 (Rhy) Task 1, 5
4 Theory Topics: Phrase structure review; motivic development and cadences review (Chapter 18) Composition Project Rhythm (RoR Vol. 2): Ch. 5 (Rhy) Task 1, 5
5 Theory Topics: Mixture chords (Chapter 26) Rhythm (RoR Vol. 2): Ch. 6 (Rhy) Task 1, 5
6 Theory Topics: REVIEW CLASS In-class Theory Test Rhythm (RoR Vol. 2): Ch. 7, 14a (intro: quintuple metre) (Rhy) In-class Aural Test Task 1, 2, 5
7 Theory Topics: Neapolitan chord; Augmented sixth chords (Chapter 27) Rhythm (RoR Vol. 2): Ch. 8 (Rhy) Task 1, 5
8 Theory Topics: Vocal forms, lieder; vocal forms, textpainting (Chapter 28) Rhythm (RoR Vol. 2): Ch. 9, 14b (Rhy) Task 1, 5
9 Theory Topics: Chromatic harmony, voice-leading and sequences (Chapter 30) Analysis Assessment (in class) Rhythm (RoR Vol. 2): Ch. 10, 17a (Rhy) Task 1, 2, 5
10 Theory Topics: Chromatic modulation; Sonata form (Chapters 31, 32) Rhythm (RoR Vol. 2): Ch. 11, 14c, 17b (Rhy) Task 1, 5
11 Theory Topics: Popular Song Forms; Twelve-bar blues (Chapter 29) Rhythm (RoR Vol. 2):Ch. 17c, Review, and Improvisation (Rhy, Mel) Task 1, 5
12 Theory Topics: REVIEW CLASS Final Assessment preparation Rhythm (RoR Vol. 2): REVIEW CLASS Final Assessment preparation Task 3, 4 in exam period

Assessment Summary

Assessment task Value Due Date Return of assessment Learning Outcomes
Folio of in-class activities and assignments 40 % 02/06/2019 16/06/2019 1,2,3,4
Mid-semester exams 25 % 07/04/2019 21/04/2019 1,2,4
Final Exams 35 % 02/06/2019 16/06/2019 1,2,4

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details


ANU has educational policies, procedures and guidelines, which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Misconduct Rule before the commencement of their course. Other key policies and guidelines include:

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the ANU Online website. Students may choose not to submit assessment items through Turnitin. In this instance you will be required to submit, alongside the assessment item itself, hard copies of all references included in the assessment item.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.


Students are expected to participate in weekly lectures and tutorials.

Assessment Task 1

Value: 40 %
Due Date: 02/06/2019
Return of Assessment: 16/06/2019
Learning Outcomes: 1,2,3,4

Folio of in-class activities and assignments

As assigned by the Convenor. These exercises and in-class activities will allow students to put into practice the concepts delivered in the weekly lectures, ensuring that students receive ongoing feedback regarding their progress in this course.

Assessment Task 2

Value: 25 %
Due Date: 07/04/2019
Return of Assessment: 21/04/2019
Learning Outcomes: 1,2,4

Mid-semester exams

Theory exam: 12.5% of overall mark

Aural Skills exam: 12.5% of overall mark

These two exams will cover all materials from weeks 1-5, and will take place in class during week 6. Students will be examined on written analysis, and melodic and harmonic dictation. These practical written exams will give students and the lecturer an update on how they are going, and prepare students for the format of the final exam.

Assessment Task 3

Value: 35 %
Due Date: 02/06/2019
Return of Assessment: 16/06/2019
Learning Outcomes: 1,2,4

Final Exams

Theory exam: 17.5% of overall mark

Aural Skills exam: 17.5% of overall mark

These two exams will cover all materials from weeks 1-11, and will take place during the exam period. Students will be examined on written analysis, melodic and harmonic dictation, and sight singing. These exams will demonstrate whether students are ready to move on to the next and final course in this series.

Academic Integrity

Academic integrity is a core part of our culture as a community of scholars. At its heart, academic integrity is about behaving ethically. This means that all members of the community commit to honest and responsible scholarly practice and to upholding these values with respect and fairness. The Australian National University commits to embedding the values of academic integrity in our teaching and learning. We ensure that all members of our community understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. The ANU expects staff and students to uphold high standards of academic integrity and act ethically and honestly, to ensure the quality and value of the qualification that you will graduate with. The University has policies and procedures in place to promote academic integrity and manage academic misconduct. Visit the following Academic honesty & plagiarism website for more information about academic integrity and what the ANU considers academic misconduct. The ANU offers a number of services to assist students with their assignments, examinations, and other learning activities. The Academic Skills and Learning Centre offers a number of workshops and seminars that you may find useful for your studies.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) as submission must be through Turnitin. If you are submitting a written assignment online in place of hard-copy submission, the assignment must be uploaded successfully through Turnitin before the scheduled class start time.

Hardcopy Submission

For some forms of assessment (including annotated scores, exercise worksheets, etc.) hard copy submission is appropriate. Any such assignments will be specified on Wattle. Such hard copy assignments must be submitted in class, at the beginning of class time. Please keep a copy of tasks completed for your records.

Late Submission

Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item.

Note that late presentations are not accepted, and will receive a mark of zero.

Referencing Requirements

Accepted academic practice for referencing sources that you use in presentations can be found via the links on the Wattle site, under the file named “ANU and College Policies, Program Information, Student Support Services and Assessment”. Alternatively, you can seek help through the Students Learning Development website.

Returning Assignments

Student work will be returned through Turnitin with instructor comments. Students who wish to receive additional feedback on assignments should make an appointment to see the instructor.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. The Course Convener may grant extensions for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Resubmission of Assignments

Resubmission of assignments is not permitted in this course.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

Edward Neeman

Research Interests

Open Music Notation (graphic, prose, game pieces, etc.); Morton Feldman and the New York School; Acoustic Ecology; Generative, Interactive and Dynamic Music; Intersectional Feminism in musical composition and performance; Anarchism in musical composition and performance

Edward Neeman

Monday 11:00 13:00
Alexander Hunter
02 6125 3866

Research Interests

Alexander Hunter

Monday 11:00 13:00
Edward Neeman

Research Interests

Edward Neeman

Monday 11:00 13:00

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