This course offers an in-depth study of one specialised area of music analysis, within the broader field of music theory, aural skills, musicianship and sound studies. Through this specialised approach, students explore a particular genre, stylistic period, or set of practices in connection to a particular analytical framework. Students will engage with material through both guided and independent research activities, applying new critical, analytical, and technical skills to set repertoire. These tools will be explored through technical and creative activities such as transcriptions, compositions, arrangements, reharmonisations, and improvisations, in the context of the course topic.

Students may enrol in this course up to three times, for a maximum credit value of 18 units, provided a different topic is undertaken in each instance/semester. Please note that the course content, assessment structure, and reading list will change depending on the topic and the expertise of the lecturer convening the course. Please refer to the class summary for the specific term in which you wish to enrol for a detailed description.

 

Topics may include, but are not limited to, the following:

• Ears and Dots 2: Style-based Aural and Theory For The Modern World
• Studio Breakdown: Dissecting the Layers of Recorded Music
• Music Theory Through a Global Lens
• Music Harmony in Practice
• Aural Skills in Practice

Learning Outcomes

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

1. communicate verbally and in writing an understanding of complex theoretical knowledge and analytical techniques, drawing on advanced terminology and nomenclature appropriate to studied repertoire and styles;
2. critically evaluate resources and apply theoretical knowledge to generation of creative outputs such as compositions, reharmonisations, improvisations, in the context of the course topic;
3. aurally analyse, respond to, and critique sounds contemporaneously and in a range of settings; and
4. critically analyse and evaluate resources such as notated scores, recorded music and scholarly sources.

Research-Led Teaching

Music theory and aural skills pedagogy is a research-intensive discipline informed by contemporary inquiry into best practice. This course adopts collaborative and student-centered approaches grounded in current scholarship:

Ungrading and Self-Assessment: Recent research demonstrates that ungrading practices enhance student engagement, intrinsic motivation, and focus on learning while fostering creativity and agency. Students report that ungrading improves their relationship with instructors and reduces grade-focused anxiety, though some initially experience uncertainty with unfamiliar assessment approaches. This course incorporates ungrading principles through:

·      De-emphasised numerical grading in favor of qualitative feedback

·      Student self-assessment and reflection

·      Focus on growth and learning processes rather than performance outcomes

·      Collaborative development of assessment criteria

Collaborative Learning in Music: Aural skills are socially-developed competencies best cultivated through collaborative pedagogy. Research on collaborative creative learning in advanced music education identifies signature pedagogies including ensemble-based learning, peer feedback, and collectively motivated learning environments. This course implements collaborative approaches through:

·      Regular peer-review and collective vocalization activities

·      Small-group and whole-class aural skills practice

·      Emphasis on learning partnerships between students

·      Recognition that musical understanding deepens through social interaction and feedback

Multi-Stage Assessment in Aural Skills: Research on collaborative multi-stage exams in aural skills education demonstrates enhanced learning outcomes when students engage in iterative, socially-embedded assessment practices. This course incorporates findings through distributed in-class participation assessment and peer collaboration.

Examination Material or equipment

N/A

Required Resources

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

Sarath, Ed. Music Theory through Improvisation: A New Approach to Musicianship Training. New York: Routledge, 2010.

Recommended Resources

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

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

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

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

Staff Feedback

Feedback to Students

You will receive feedback through:

·      Verbal comments during classes (individual and group)

·      Written comments on submitted work

·      Personalised feedback at student conferences (initial and final)

·      During student consultation hours

Student Feedback on Course

ANU is committed to educational excellence and regularly seeks student feedback. You are encouraged to provide feedback:

·      Directly to the course convener

·      Through college and course representatives

·      Via Student Experience of Learning & Teaching (SELT) surveys (confidential)

SELT surveys provide opportunities to recognise excellent teaching and identify improvements.

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). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Introductions; Course overview; Reflective practice frameworks; Introduction to collaborative aural skills development
2	Transcription skills introduction - rhythmic transcription; group singing: unison and simple harmonies
3	Self-Directed Learning Activities; Review course readings on rhythmic structures, Practice sight-singing exercises, Individual reflection, and consolidation
4	Melodic transcription techniques; group singing: counter-melodies and simple harmonies	1
5	Harmonic transcription introduction; group singing: three-part harmonies
6	Advanced rhythmic concepts; group singing: four-part harmonies and vocal improvisation	1
7	Integrating rhythm, melody, and harmony in transcription; group singing: advanced repertoire
8	Self-Directed Learning Activities: Review improvisation readings (Sarath), Transcription practice, sight-reading skill consolidation	1
9	Aural skills in diverse musical contexts; group singing: contemporary and global repertoire
10	Review and consolidation of transcription techniques; group singing: student-selected repertoire	1
11	Sight-reading strategies; group singing: viva voce preparation	2
12	No regular workshops: Individual Viva Voce Assessments during workshop hours	3

Assessment Summary

Assessment task	Value	Due Date	Learning Outcomes
Reflective journal	60 %	12/05/2026	1,2,3,4
Group Transcription Project	20 %	20/05/2026	1,2,3,4
Individual Viva Voce Assessment	20 %	26/05/2026	1,2,3,4
Reflective Journal	0 %	29/05/2026	1,2,3,4

* 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 Integrity Rule before the commencement of their course. Other key policies and guidelines include:

• Academic Integrity Policy and Procedure
• Student Assessment (Coursework) Policy and Procedure
• Extenuating Circumstances Application
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure
• Code of practice for teaching and learning

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 Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Canvas’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

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

Regular, active participation in lectures and workshops is essential for developing aural skills, which are learned through practice and social interaction. This course emphasises collaborative, hands-on activities in every session including:

• Use of percussion instruments
• Vocalisation and group singing
• Improvisation and contemporaneous music-making
• Responsive listening and transcription exercises

While ANU policy prohibits grading attendance itself, meaningful participation requires consistent presence in scheduled sessions. The 60% weighting for in-class participation reflects the centrality of collaborative learning to this course's pedagogical approach.

If you are regularly unable to attend classes in person due to exceptional circumstances, please arrange an appointment with the course convener at the earliest opportunity to discuss alternative arrangements.

Examination(s)

Viva Voce in Week 12

Assessment Task 1

Reflective journal

This task assesses your active contribution to collaborative aural skills development during workshop sessions. You will be assessed on the quality, depth, and consistency of your participation in both whole-class and small-group activities including sight-singing, rhythmic exercises, melodic and harmonic transcription practice, improvisation, and peer feedback sessions.

Assessment occurs during four specific workshops (Weeks 4, 6, 8, 10), allowing you to demonstrate growth over the semester. The lecturer will observe and document your contributions, focusing on:

• Active engagement with aural skills exercises
• Constructive contribution to peer learning
• Demonstration of developing skills across rhythm, melody, harmony, sight-reading, and vocalization
• Willingness to take risks and work collaboratively
• Application of feedback from previous sessions

Important Notes:

• This assessment evaluates quality of participation, not attendance alone (consistent with ANU policy)
• Students are expected to attend all workshops to have opportunities to demonstrate participation
• If unable to attend a scheduled assessment workshop, contact the lecturer immediately to discuss alternative arrangements
• You will maintain a brief activity log documenting your collaborative work, self-assessment, and goals for each workshop

Submission:

• Brief activity log (1–2 sentences per workshop session) submitted via online course page by 12 May 2026
• Lecturer maintains observation records throughout semester, with more detailed records during Weeks 4, 6, 8, 10

Rubric

	HD	D	Cr	P	N
Accuracy of pitch and rhythm in prepared and unprepared sight-reading; fluency and musical phrasing Quality of tone, intonation, and musical expression; confidence and technical control Creativity and appropriateness of improvised responses; rhythmic and/or melodic coherence; stylistic awareness Accuracy in identifying and transcribing heard musical elements during examination Ability to articulate learning journey; self-awareness about strengths and development areas; demonstration of progress	Exceptional demonstration of aural skills across all areas. Sight-reading is fluent and musical. Performance shows strong technical control and expression. Improvisation is creative and stylistically appropriate. Transcription is highly accurate. Articulates sophisticated understanding of personal learning journey.	Strong demonstration of aural skills. Sight-reading is accurate with good musicality. Performance is confident and expressive. Improvisation shows creativity and coherence. Transcription is mostly accurate. Clear awareness of learning progress.	Competent demonstration of aural skills. Sight-reading is generally accurate though may lack fluency. Performance is adequate with some musical expression. Improvisation shows reasonable effort. Transcription captures main elements. Some reflection on learning process.	Basic demonstration of aural skills. Sight-reading has notable errors but shows some ability. Performance is functional with limited expression. Improvisation is simple but present. Transcription has significant errors but shows attempt. Limited reflection on learning.	Insufficient demonstration of aural skills. Multiple significant errors across tasks. Limited technical control or musical understanding. Unable to articulate learning progress.

Assessment Task 2

Group Transcription Project

Working in groups of 3–4 students, transcribe and arrange a piece of recorded live music (3–5 minutes duration) for which no published score exists. Each group member transcribes 1–3 distinct instrumental or vocal parts, clearly indicating individual contributions. The project should demonstrate collaborative decision-making, aural comprehension, and accurate notation.

Submit:

1. Complete score (PDF) with all parts, properly formatted and notated
2. Individual contribution statement (200–300 words) explaining your specific transcribed parts, challenges encountered, and collaborative process
3. Recording of original audio source (link or file)
4. Optional: Recording of group performance of transcription (encouraged but not required)

Group Formation: Groups will be formed in Weeks 1 and 2, and maintained throughout the semester to allow for collaborative development.

Rubric

	HD	D	Cr	P	N
Transcription is highly accurate with sophisticated understanding of musical elements. Notation is exemplary. Clear evidence of exceptional collaborative process. Demonstrates deep musical comprehension and appropriate stylistic awareness.	Transcription is highly accurate with sophisticated understanding of musical elements. Notation is exemplary. Clear evidence of exceptional collaborative process. Demonstrates deep musical comprehension and appropriate stylistic awareness.	Transcription is mostly accurate with good attention to detail. Notation is clear and professional. Evidence of strong collaborative work. Shows good musical understanding and style awareness.	Transcription is generally accurate with some minor errors. Notation is adequate and mostly clear. Collaborative process is evident. Demonstrates reasonable musical understanding.	Transcription has notable errors but captures basic elements. Notation is acceptable though may have formatting issues. Some evidence of collaboration. Shows basic musical comprehension.	Transcription contains significant errors undermining accuracy. Notation is poor or unprofessional. Limited evidence of collaboration. Demonstrates insufficient musical understanding.

Assessment Task 3

Individual Viva Voce Assessment

A 5–8 minute individual oral examination assessing your aural skills through practical demonstration. You will be asked to:

1. Sight-read a short melodic excerpt (prepared 24 hours in advance)
2. Perform prepared material from course readings (sight-singing repertoire)
3. Demonstrate improvisation skills (rhythmic and/or melodic)
4. Transcribe by ear a brief musical excerpt played during the examination

The viva voce allows you to demonstrate your individual growth in aural skills and embodied musicianship. This is a supportive, conversational assessment focused on your learning journey.

Scheduling: Individual appointment times will be assigned in Week 11 via online course page announcement. Appointments run throughout the day Tuesday 26 May 2026 (replacing regular workshops).

Preparation:

• Review course sight-singing materials (Edlund, Palmqvist)
• Practice rhythmic reading and improvisation exercises
• Prepare personal examples demonstrating growth areas

Rubric

	HD	D	Cr	P	N
Accuracy of pitch and rhythm in prepared and unprepared sight-reading; fluency and musical phrasing Quality of tone, intonation, and musical expression; confidence and technical control Creativity and appropriateness of improvised responses; rhythmic and/or melodic coherence; stylistic awareness Accuracy in identifying and transcribing heard musical elements during examination Ability to articulate learning journey; self-awareness about strengths and development areas; demonstration of progress	Exceptional demonstration of aural skills across all areas. Sight-reading is fluent and musical. Performance shows strong technical control and expression. Improvisation is creative and stylistically appropriate. Transcription is highly accurate. Articulates sophisticated understanding of personal learning journey.	Strong demonstration of aural skills. Sight-reading is accurate with good musicality. Performance is confident and expressive. Improvisation shows creativity and coherence. Transcription is mostly accurate. Clear awareness of learning progress.	Competent demonstration of aural skills. Sight-reading is generally accurate though may lack fluency. Performance is adequate with some musical expression. Improvisation shows reasonable effort. Transcription captures main elements. Some reflection on learning process.	Basic demonstration of aural skills. Sight-reading has notable errors but shows some ability. Performance is functional with limited expression. Improvisation is simple but present. Transcription has significant errors but shows attempt. Limited reflection on learning.	Insufficient demonstration of aural skills. Multiple significant errors across tasks. Limited technical control or musical understanding. Unable to articulate learning progress.

Assessment Task 4

Reflective Journal

Though not graded, maintaining a reflective journal is strongly recommended as a tool for documenting your learning journey, practice regime, and self-assessed progress. The journal provides valuable insights for both you and the instructor and supports metacognitive development.

Using an established reflective practice framework (discussed in Week 1), document weekly:

• Learning experiences in and outside class
• Practice activities and challenges
• Self-assessment of progress in specific aural skills
• Responses to readings and pedagogical literature
• Peer collaboration experiences
• Personal goals and reflections

Format: Informal writing style acceptable. Share working document (Word/Google Doc) by Week 1 Friday for ongoing viewing. Final PDF submission optional by 29 May 2026.

Suggested Length: 150–300 words per week (~2000-3500 words total)

Benefits:

• Enhances metacognitive awareness
• Documents progress for student conferences
• Provides evidence for assessment of participation
• Supports goal-setting and self-directed learning
• Valuable reference for future courses

The instructor will read journal entries and may provide informal feedback, but no grade will be assigned.

Academic Integrity

Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.

The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.

The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.

 

The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.

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) submission must be through each specific Assessment Submission page listed on the LMS under the heading 'Assessments'. Submission of hand-written work must be scanned (including photographed) at a high enough image resolution to ensure that visual clarity is excellent and to eliminate any ambiguity due to poor image quality. The scanned image or PDF file must not be subsequently edited other than overall adjustments such as cropping or exposure settings. It is the student's responsibility to confirm that final visual quality of the scanned image is more than adequate for assessment purposes, and to discuss any issues relating to electronically scanning (including photographing) hand-written work for assessments at least seven days prior to the due date of the relevant assessment task.

Hardcopy Submission

For some forms of assessment (hand written assignments and music notation, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records. All hardcopy work submitted electronically should adhere to the advice given under the Online Submission section of this document.

Late Submission

Late submission of the workshop presentation assessment item is not permitted. In cases of documented extenuating circumstances, alternate forms of submission may be approved.

Late submission of other assessment items 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 items are 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. Late submission is not accepted for take-home examinations.

Referencing Requirements

The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material. Any use of artificial intelligence must be properly referenced. Failure to properly cite use of Generative AI will be considered a breach of academic integrity.

Returning Assignments

Submitted assignments will be made available for reviewing by individual students either in-class, by appointment during office-hours, or electronically where necessary or required.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted 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 are not permitted in this course. Students should bring all submission-related questions to the attention of the lecturer in the relevant class, as early as possible and prior to the submission due date.

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 Accessibility 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 supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents all ANU students