Music Performance Year One
Unit details for Semester Two
Unit of Study - Music Performance 102
The following applies to Year One Bachelor of Music students.
|Unit Name||MUSIC PERFORMANCE: Solo Performance 2|
|Unit Code||MUSPER 102|
|Unit Description||In this unit students will learn how to:
• Prepare and present musical performances at a 1st year degree standard (equivalent to AGME-Proficiency level)
• Choose suitable repertoire, practice and rehearse effectively to expand technical and instrumental ability.
• Reflect on and self-critique performances in order to develop practice methodology.
|Award(s)||Bachelor of Music|
|Unit Duration||1 Semester (12 weeks)|
|Year Level||Year 1, Semester 2|
|Unit Coordinator||Caleb Garfinkel|
|Teaching Staff||Lecturer: Leonie Wobking, Caleb Garfinkel
Tutors: Bernadette Norton, Leonie Wobking, Caleb Garfinkel
|Pre/Co-requisites||A pass in Music Performance 101|
|Credit Points||15 credit points|
|Mode of Delivery||x Face to face
x E-learning (online)
o Intensive/block mode (where the unit or a face to face component is delivered in a block)
x Distance/independent learning (un-timetabled)
o Fast track
Delivery/ Contact Hours
|No. timetabled hours per week:
Lecture - 1 hour
Practical Session - 1 hour
Tutorial - 1 hour
Personal Independent Study - 9 hour
Total hours per week - 12 hours
|Resource Requirements||• Instrument
• Instrumental tutor (specialist instruments only)
• Video camera (distance students)
• Web camera (distance students)
• Computer facilities
• Video editing software
• External Technical Help
|Resources Provided||• Instrumental Tutors.
• On-campus equipment and performance facilities
• Online streaming video and additional referencing videos
• Library resources (see prescribed or recommended texts below)
The Music Performance unit aims to develop performance and technical instrumental skills at a Proficiency-equivalent level as a soloist; relevant to contemporary music performance environments in the current music industry. Students are introduced to skills to assess and evaluate their own performance practice to set their own goals and outcomes, and to constructively critique the performances of other students to enable collaborative improvement and musical awareness.
Students will complete weekly tutorials in their principal instrument, present weekly performances to other enrolled students, assist in providing constructive criticism for other members in performance workshops, and present a programme of individual works. Students are encouraged to incorporate skills developed in other units in their ongoing performance, including Composition and Music Technology.
On successful completion of this unit, students are expected to be able to:
- Select and perform a diverse and varied program of appropriate repertoire as a soloist at a Proficiency standard that demonstrates developing control of instrumental ability and musicality and show an increasing openness to a variety of musical styles and developing influences.
- Develop and maintain technical control and musical fluency, showing increased sensitivity to expressive elements and performance characteristics, securely demonstrating intonation, phrasing, dynamics, ornamentation, timing and tonal balance.
- Effectively rehearse material for performance, developing methods for solving technical difficulties in performance by analysing and evaluating technical demands and stylistic requirements through self-directed practice routines.
- Communicate musical concepts and appropriate stagecraft technique through effective audience engagement.
- Develop self-analysis and critical skills through constructive written and verbal analysis of their own and other students’ musical performances.
Solo Performance allows students to develop existing instrumental skills to a Proficiency-equivalent standard through individual weekly lessons and regular performances on their principal instrument, as well as broader performance practice techniques through weekly lectures.
Students will have weekly lessons with their instrumental tutor of the student and tutor’s design, which are focused toward fulfilling the end of semester performance goals. Weekly Performance Masterclass lectures will address areas of performance and stagecraft considerations, with introduction to improvisation.
|Students will perform a technical examination, 20 minutes, and minimum of 4 solo works, 30 mins at a Bachelor Year One standard (equivalent to AGME Proficiency standard), selected in discussion with their tutor based on the nominated list.|
Students will perform pieces in progress from their respective examinations at least each 2 weeks in class. If suitable members/groups are not accessible for accompaniment, students may perform with self-produced backing tracks or accompaniment technology.
|Lesson Material Covered|
|Performance etiquette, examination preparation, performance psychology and techniques.|
Developing improvisation. Practicing critically and effectively. Recital preparation. Creative practice, aural development in practice. Live performance vs exams.
|Assessment Type||When assessed||Weighting|
(% of total unit marks)
|Learning Outcomes Assessed|
| Assessment 1.1: Performance Workshop Engagement |
Type: Performances and Feedback
Students participate weekly in performance workshop by performing live (on campus) or providing pre-recorded video link (distance), and by critiquing and providing feedback of other student’s performances. Students will present a minimum of 6 performances, with at least 4 different pieces performed.
|Ongoing Fortnightly performances||20%||1, 2, 3, 4, 6|
|Assessment 1.2: Self-Assessment Report|
Length: 1000 words
Reflection on technical challenges of pieces chosen for end of year performance exam, discussion of practice methods, and benefits of developed techniques on future development as musician.
|Week 7||20%||4, 5|
|Assessment 1.3: Performance Exam |
Length: 30 minutes
30 minute performance of 4 pieces min. on student’s primary instrument at Proficiency level. Pieces must be contrasting and show a developing level of technical competency, confidence and instrumental ability.
|Week 14||60%||1, 2, 3, 4|
Prescribed and recommended readings:
Online Resources (books/video)
A subscription to Oxford Music Online and to Grove Music Online which includes:
- The Grove Dictionary of American Music (2nd ed.).
- The New Grove Dictionary of Jazz (2nd ed.).
- The New Grove Dictionary of Music and Musicians (2nd ed.).
- The New Grove Dictionary of Opera.
- The Oxford Companion to Music.
- The Oxford Dictionary of Music (2nd ed.).
Plus updated content bibliographies, specially-commissioned articles only available online.
A subscription to JSTOR Journals and books
A subscription to Lynda.com video tutorials
Recommended Reading List
Cameron, J. (2016). The Artist’s Way. London, England: Penguin.
Green, B., & Gallwey, W. T. (1987). The Inner Game of Music. New York, NY: Pan Macmillan.
Werner, K., & Aebersold, J. (1996). Effortless Mastery. New Albany, IN: Jamey Aebersold Jazz.
Wooten, V. (2008). The Music Lesson: A spiritual search for growth through music. New York, NY: Penguin.
Cross, D. (2014). Playing for a Crowd: Hints and Tips. About.com. Retrieved from http://guitar.about.com/od/beginners/a/playing_crowds.htm.
Dowling, D. (n.d.). Performance Hints & Techniques in Piano Playing and the Music of Chopin. Retrieved from
Goldberg, J. 2013. Stage Fright (Performance Anxiety). WebMD. Retrieved from http://www.webmd.com/anxiety-panic/guide/stage-fright-performance-anxiety/.
Klickstein, G. (2009). Overcome Performance Anxiety, Conquer Stage Fright. Oxford University Press: 2009-2014. Retrieved from http://www.musiciansway.com/performance.shtml.
Music & Performing Arts. Last Updated: Feb 17, 2014 http://subjectguides.library.uws.edu.au/print_content.php?pid=51935&sid=4390533.
|#||Course Learning Outcomes|
On completion of the course the student should be able to demonstrate:
|Unit Learning Outcomes||Assessments|
|1||A broad knowledge of the applied, theoretical and historical basis of the discipline||1, 2, 3, 4, 5||1.1, 1.2, 1.3|
|2||A depth of disciplinary knowledge in a professionally applicable specialisation||1, 2, 3, 4, 5||1.1, 1.2, 1.3|
|3||An understanding of the processes of musical scholarship and research||1, 2, 3, 4, 5||1.1, 1.2, 1.3|
|4||The ability to work both independently and collaboratively in diverse and complex musical settings||1, 2, 3, 5||1.1, 1.2, 1.3|
|5||Effective written, verbal and interpersonal communication skills||3, 4, 5||1.1, 1.2, 1.3|
|6||Critical thinking and analytical skills appropriate to a range of contexts including further study||3, 4, 5||1.1, 1.2, 1.3|
|7||The ability to apply specific musical skills to a wide range of professional contexts||1, 2, 3, 4, 5||1.1, 1.2, 1.3|
|8||The capacity to apply technological and creative solutions to contemporary musical practices||1, 2, 3||1.1, 1.2, 1.3|
|9||The ability to incorporate knowledge from the business and legal fields to a portfolio career in the music profession.||NA||NA|
Successful completion of this unit will contribute to the attainment of the following graduate attributes:
|Unit Learning Outcomes||Course Learning Outcomes||Assessments|
|1||Deep disciplinary knowledge||1, 2, 3, 4, 5||1, 2, 3, 4, 7||1.1, 1.2, 1.3|
|2||The ability to apply knowledge and skills in innovative ways||1, 2, 3, 4, 5||4, 5, 6, 7||1.1, 1.2, 1.3|
|3||A commitment to lifelong learning||1, 2, 3, 4, 5||1, 2, 3, 4, 5, 6, 7||1.1, 1.2, 1.3|
|4||Effective communication skills for diverse contexts||3, 4, 5||3, 5, 6, 7||1.1, 1.2, 1.3|
|5||The capacity to work independently and collaboratively||1, 2, 3, 4, 5||3, 4, 5, 6, 7||1.1, 1.2, 1.3|