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. In this course, students apply their knowledge of functional harmony to gain a deeper appreciation of music while developing greater fluency in reading and interpreting music notation and shorthands. The theory component is complemented with the sequential and aligned development of relevant aural skills, including audiation (inner hearing) and aural awareness of related melodic, harmonic, and rhythmic structures, through individual and group listening, reading and performing (singing), and dictation 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, through prose and music notation, the core elements of music, including pitch, harmony, rhythm, and form;
2. fluently apply theoretical knowledge through analysis of music scores using appropriate terminology and notation;
3. demonstrate an ability to read and interpret relevant music notation, including inner hearing of melody, harmony, and rhythm, through sight-singing, sight-reading, and performance activities; and
   
4. aurally identify and creative interpret the various elements of music, including pitch, chords, harmony, and rhythm, 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. You will be exposed to research by leaders in the field of music theory and aural skills, informing your theoretical and aural studies and development 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 later in the Theory and Aural sequence.

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.
• This book is also required in MUSI2204, MUSI3319 and MUSI3320.

2. Palmqvist, Bengt-Olov. Refinement of Rhythm. Vol. 1, Canberra: Bopac, 2003.

• 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.)
• This book is also required in MUSI2204.

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.

Recommended Resources

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 (MUSI2204).
• 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

2. Palmqvist, Bengt-Olov. Refinement of Rhythm : Supplement for Rhythmic Dictation. Vol. 1. Canberra: Bopac, 2003.

• 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 (MUSI2204).

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.

• 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. 1, Canberra: Bopac, 2003. (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 or the MLA Style. See the following link for details:

https://academicskills.anu.edu.au/resources/handouts/referencing-style-guides

Hurdle Requirement

In order to successfully complete the course, a student must pass the hurdle requirement by achieving at least a pass mark (50%) in each of the two core components. A student may fail an assessment item, provided that the average mark in each core component is 50% minimum.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Theory Topics Jazz Theory: Diatonic harmony fundamentals, Roman Numeral analysis, cadences, ii-V’s, modes. Common Practice Theory: Introduction to pitch: acoustics, harmonic series, enharmonicism, dynamics Aural Topics: Edlund, Ch. 1, 2; Palmqvist, Ch. 1, 2; Harmony: Primary triads and chord functions (I, IV, V; T, S, D), in major and minor	None
2	Theory Topics Jazz Theory: Extended chords; Modal progressions Common Practice Theory: Minor keys, parallel/relative, modes, minor pentatonic; Intervals; Rhythm: Simple metre and beat division Aural Topics: Edlund, Ch. 3, 4; Palmqvist, Ch. 3	Assessment 1
3	Theory Topics Jazz Theory: Secondary dominants (part 1) Modulation v temporary tonicisation Common Practice Theory: Metrical hierarchy, syncopation, tuplets Triads, chord labels, figured bass Seventh chords and function – Composing rhythms Aural Topics: Edlund, Review 1–4, and audiation techniques. Introduce Ch. 5; Palmqvist, Ch. 4; Harmony: Inversions of I, IV, V	Assessment 1
4	Theory Topics Jazz Theory: Secondary dominants (part 2); Chord scale relationships; Reharmonisation; Repertoire analysis Common Practice Theory: Counterpoint (1st to 5th species, and beyond) (Clendinning, Ch. Aural Topics: Edlund, Ch. 6 Palmqvist, Ch. 5, part 1	Assessment 1
5	Theory Topics Jazz Theory: Extended chords (deducing scales/modes) Scales: Whole tone, diminished; Revision Common Practice Theory: Revision with and applied analyses Aural Topics: Edlund, Ch. 6 cont.; Palmqvist, Ch. 5, part 2; Harmony: vi and VI	Assessment 1
6	Theory Topics Jazz Theory: Written Theory Test Common Practice Theory: Written Theory Test Aural Topics: Edlund, Ch. 7 Palmqvist, Ch. 6 Written Aural Test	Assessment 1
7	Theory Topics Jazz Theory: Rhythm changes and other common forms Common Practice Theory: Writing (composing) effective outer voices: Soprano and bass lines (Clendinning, Ch. 11) Aural Topics: Edlund, Ch. 7 cont., and 8 (intervallic singing exercises) Palmqvist, Ch. 7 Harmony: Cadential 6-4	Assessment 1
8	Theory Topics Jazz Theory: Blues: Simple blues, jazz variations, and melody approaches Common Practice Theory: Basic phrase structure, SATB voicings (Ch. 12) Aural Topics: Edlund, Ch. 9 (triadic singing intro. M/m/dim) Palmqvist, Ch. 8 Harmony: Arpeggiated chord singing, introduction: I, IV, V	Assessment 1
9	Theory Topics Jazz Theory: Chromatic harmony - advanced secondary functions. Common Practice Theory: D7, pre-dominants, chorale harmonisation (Ch.13) Review class (Thu) Aural Topics: Edlund, Ch. 10 Palmqvist, Ch. 9	Assessment 1
10	Theory Topics Jazz Theory: Minor Key Harmony – part 1 Common Practice Theory: Expanding and exploring the basic phrase (Ch. 14) – Composing and part-writing with rhythmic variation Aural Topics: Edlund, Ch. 10 cont., Introduce Ch. 11 Palmqvist, Ch. 10	Assessment 1
11	Theory Topics Jazz Theory: Minor Key Harmony – part 2 Common Practice Theory: Diatonic root progressions and VVI, IV-I, Phrygian cadence (Ch. 15) Aural Topics: Edlund, Ch. 10 & 11 cont. Palmqvist, Review Ch. 1–10 Improvisation exercises	None
12	Theory Topics Jazz Theory: Revision and repertoire analysis Common Practice Theory: Revision and repertoire analysis Aural Topics: Final Review of Edlund, Ch. 1–11; and Palmqvist, Ch. 1–10	Assessment 3 in exam period

Assessment Summary

Assessment task	Value	Due Date	Return of assessment	Learning Outcomes
In-class Activities and Assignments	40 %	02/06/2019	16/06/2019	1,2,3,4
In-class tests	25 %	07/04/2019	21/04/2019	1,2,4
Final Written Exam	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

Policies

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:

• Student Assessment (Coursework) Policy and Procedure
• Special Assessment Consideration Policy and General Information 
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure

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.

Participation

Students are expected to participate in weekly lectures and tutorials.

Assessment Task 1

In-class Activities and Assignments

Aural Skills (All Students)

-      Weekly Exercises (10%):

o  As advised by the Aural Skills Lecturer, students will complete a folio of weekly assessment tasks during weeks 2-5 and 7-11. These tasks will give students the opportunity to demonstrate their command of the topics covered in class, and receive a greater amount of feedback between exams.

-      Viva Voce (10%):

o  A short individual Viva Voce (i.e., individual aural skills assessment of performance and reading skills, both prepared and unprepared) worth 10% will be held towards the end of the semester and scheduled with students individually. Prepared materials will be provided to the student at least three days prior to the day of the assessment.

 

Common Practice Theory (Common Practice Theory students only)

-      Weekly Exercises (10%):

o  As advised by the Common Practice Theory Lecturer, students will complete a folio of weekly assessment tasks during weeks 2-5 and 7-11. These tasks will give students the opportunity to demonstrate their command of the topics covered in class, and receive a greater amount of feedback between exams.

-      Group analysis assignment (10%):

o  In groups of 3-4, students will research and develop a short in-class presentation on an analysis of a musical work – as approved by the Common Practice Theory Lecturer. Topics must be approved before the mid-semester break, and presentation slots will be available in the tutorials during weeks 8, 9 and 10.

o  Assessment Criteria:

§ Demonstrated ability to formulate a topic that facilitates the discussion of a chosen topic

§ Demonstrated ability to effectively communicate in words ideas pertaining to a specific musical idea, in the chosen format

§ Demonstrated ability to effectively formulate and organise ideas in terms of an argument

§ Demonstrated ability to appropriately support your arguments formally through reference to relevant sources (e.g. chapter and page number of the textbook)

 

Jazz Theory (Jazz students only)

Task #1 (10%) –Solo instrument and rhythm section composition

Descriptor:

·      Submitted as a Sibelius file.

·      Min. 32 bars

·      AABA or ABAC form

·      Scored as solo instrument and rhythm section. Rhythm Section stave (or double stave as appropriate) may include sample rhythms and guide bass lines or piano voicings as appropriate. It should certainly include detailed indications of performance style and any rhythmic hits or ensemble figures

·      Utilise Major key diatonic progressions and chords of secondary function.

·      Demonstrate awareness of tensions and avoid notes in melody writing

·      Include a short modulated section (up to 8 bars)

·      Submit a written analysis

o  500-1000 words

o  Include musical excerpts and an annotated chart with Roman numeral analysis and chord-scale analysis

o  Illustrate connections with material studied in class

 

Task #2 (10%) –Solo instrument and rhythm section composition

Descriptor:

·      Submitted as a Sibelius file.

·      Min. 32 bars

·      Through-composed form

·      Scored as solo instrument and rhythm section. Rhythm Section stave (or double stave as appropriate) may include sample rhythms and guide bass lines or piano voicings as appropriate. It should certainly include detailed indications of performance style and any rhythmic hits or ensemble figures

·      Utilise minor key harmony for at least on substantial section. Utilise major key harmony and secondary functions.

·      Demonstrate awareness of tensions and avoid notes in melody writing

·      Submit a written analysis

o  500-1000 words

o  Include musical excerpts and an annotated chart with Roman numeral analysis and chord-scale analysis

o  Illustrate connections with material studied in class

Jazz task assessment criteria:

• Demonstration of the application of elements such as harmonic principles, melody writing and chord-melody relationships, or other similar criteria as described in the task descriptor for individual folio component (also includes correct identification and discussion in the analysis)
• Clear and professional score layout with detailed markings, articulations and performance instructions. Appropriate formatting and use of the lead sheet and small score format.
• Creativity in composition and arranging via the use of composed introductions, endings, interludes &/or rhythmic treatment of the melody
• Written analysis (with music excerpts) addressing:
• Effective use of musical excerpts in support of analysis
• Analysis of underpinning harmonic principles and chord-scale relationships as appropriate
• Well formatted and clearly presented in appropriate academic style including referencing (texts or lecture notes) &/or comparative examples from other repertoire as appropriate.

 

Overall structure:

Value: 40% (20% Aural Skills and 20% Theory) (Refer to Assessment Summary for details)

Estimated return date: Dates spread out throughout the semester. Refer to Assessment Summary for details.

Rubric

	HD [80-100]	D [70-79]	CR [60-69]	P [50-59]	N [0-49]
	Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.	Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.	Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills.	Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.	Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
Ability to define and describe fundamental elements of music, including those relating to pitch, melody, harmony, and rhythm.
Demonstrate the capacity to apply theoretical knowledge of basic music analysis using appropriate terminology and notation.
Demonstrate fluency in reading and interpreting music notation, including inner hearing of basic melodic, harmonic, and rhythmic elements, through sight-singing, sight-reading, and performance activities.
Ability to aurally identify and creatively interpret elements of music, including pitch, chords, and harmony in tonal contexts, and basic rhythms, as demonstrated through notation and performance tasks.

Assessment Task 2

In-class tests

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

Final Written Exam

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

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 it 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.

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.

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

Assessed work will be graded following the scheduled class time. Student work will be returned in person during the weekly class meetings. If a student is absent, they should contact the relevant lecturer to arrange an alternate time for returning the assessed work.

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).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Diversity and inclusion for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents undergraduate and ANU College students
• PARSA supports and represents postgraduate and research students