Music Performance Year Three

Unit of Study - Music Performance 302

CAPSTONE

The following applies to Year Three Bachelor of Music students.


Unit Outlines

Unit NameMusic Performance 302 (Capstone)
Unit CodeMUSPER 302
Unit DescriptionIn this unit, students will:
• Prepare music and present in solo performance at an advanced professional, 3rd year degree standard (equivalent to AGME-Licentiate level).
• Choose suitable repertoire, practice and rehearse effectively to expand and achieve a level of mastery of technical and instrumental performance ability.
• Self-critique performances and demonstrate refined, sophisticated practice and performance methodology.
Award(s)Bachelor of Music
Unit Duration1 Semester (12 weeks)
Year LevelYear 3, Semester 2
Unit CoordinatorDr Matthew Field
Teaching StaffLecturer: Caleb Garfinkel
Tutors: By arrangement
Core/ElectiveElective
Pre/Co-requisitesSatisfactory completion of Music Performance 301
Credit Points20 credit points
Mode of Deliveryx 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)
x Full-time
x Part-time
o External
o Fast track
Student Workload
Delivery/ Contact Hours
No. timetabled hours per week:
Lecture – 1 hour
Practical Session – 1 hour
Tutorial – 1 hour
Personal Independent Study – 13 hours
Total hours per week – 16 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)

Unit Aims

This Music Performance 302 unit will refine students’ instrumental and performance skills at an advanced professional, Licentiate-equivalent standard, and prepare them for presenting professional, diverse and confident performances with strong leadership, organisational and collaboration skills. Students will be equipped to perform professionally in contemporary music industry contexts. Students will employ systematic and corrective rehearsal strategies, utilising memory skills to self-direct their learning and development. A high awareness of musicality in diverse styles and performance environments will be reflected through analysis, evaluation and exploration of musical works and performances. Students will further utilise advancing skills in reflection and analysis to assist other students in refining their practice and performance goals, and display highly refined critical evaluation skills.

Students will complete weekly tutorials in their principal instrument, present weekly performances and assist in providing constructive criticism for other members in performance workshops, and present an end of semester programme of individual works. Students are required to incorporate skills learned in other units in their ongoing performance, including Composition and Music Technology.

Learning Outcomes

On successful completion of this unit, students are expected to be able to:

  1. Interpret and perform a final program of pieces at a Licentiate-equivalent standard, demonstrating and applying technical mastery, artistic maturity, originality and musically aesthetic qualities of in the presentation of a considered and professional programme.
  2. Develop and demonstrate technical mastery of instrumental ability, displaying comprehensive control over technical demands of pieces and performance considerations at the level presented, identifying improvisational sections and composer’s intentions.
  3. Demonstrate evidence of advanced and extensive rehearsal methods, utilising appropriate preparation and problem-solving practices to prepare works for performance.
  4. Expand repertoire and stylistic influences through study and investigation of advanced and contemporary works from a variety of styles and genres.
  5. Evaluate and analyse their own performances and those of other students, using specific and highly effective analytical skills to constructively benefit their peers’ performances through written and verbal analysis.

Teaching Outline

Year 3 
Semester 2
Students will perform a minimum of 6 solo works, 60 mins minimum at a Bachelor Year Three standard (equivalent to AGME Licentiate standard), selected in discussion with their tutor based on the nominated list. Students will perform pieces at least each 2 weeks to class.
Lesson Material Covered
Science of learning; teaching methods in practice; mentoring and learning from peers. Recital examinations; practicing for lifelong performance. Refining and maintaining aims. Improvisation progression.

Student Assessment

Assessment TypeWhen assessedWeighting
(% 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 10%1, 2, 3, 4, 5
Assessment 1.2: Self-Assessment Report
Type: Report
Word Length: 2000 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, including comparison of outcome of first semester exam.
Week 730%3, 4, 5
Assessment 1.3: Performance Exam
Length: 60 minutes
60 minute performance of 6 pieces minimum on student’s primary instrument at Licentiate level. Pieces must be contrasting and show a refined and advanced level of technical ability, confidence and instrumental ability. One piece must be an original composition by student, or highly rearranged. Successful completion is mandatory.
Week 1460%1, 2, 3, 4, 5

Prescribed and recommended readings:

Library Resources
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. and 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.

Reference Materials

Radbourne, J., Glow, H., & Johanson, K (Eds). The Audience Experience: A critical analysis of audiences in the Performing Arts. Retrieved from:
http://www.intellectbooks.co.uk/MediaManager/File/Audience%20Experience_Tempo.pdf .

Hess, T. 2014. How to Become a Professional Guitarist and Musician: Facts and myths Part 1. Tom Hess Music Corporation. Retrieved from:
https://tomhess.net/articles/HowToBecomeAProfessionalPart1.aspx.

Mancini, D. Musician or Professional Musician? Retrieved from:
http://www.vicfirth.com/education/articles/mancini_1-15-08.html .

Hess, T. 2010. Top 10 Mistakes People Make When Trying To Become a Professional Musician. Tom Hess Music Corporation. Retrieved from:
http://www.cyberfretbass.com/business-career/tom-hess/top-10-mistakes/index.php.

Farley, K. Teaching Performance in the Digital Age: Computerized technologies, improvisational play techniques and interactive learning processes. Retrieved from:
www.kathrynfarley.org/pdf/chris_white_paper.pdf.

Morrish, A. 2003. Improvisation and performance: A personal perspective by Andrew Morrish (4th ed.). Vol 6. Retrieved from:
http://proximity.slightly.net/archive-old/v_three/v3e3a3.htm.


#Course Learning Outcomes

On completion of the course the student should be able to demonstrate:
Unit Learning OutcomesAssessments
1 A broad knowledge of the applied, theoretical and historical basis of the discipline1, 2, 3, 4, 51.1, 1.2, 1.3
2A depth of disciplinary knowledge in a professionally applicable specialisation1, 2, 3, 4, 51.1, 1.2, 1.3
3An understanding of the processes of musical scholarship and research1, 2, 3, 4, 51.1, 1.2, 1.3
4The ability to work both independently and collaboratively in diverse and complex musical settings1, 2, 3, 4, 51.1, 1.2, 1.3
5Effective written, verbal and interpersonal communication skills3, 4, 51.1, 1.2, 1.3
6Critical thinking and analytical skills appropriate to a range of contexts including further study1, 2, 3, 4, 51.1, 1.2, 1.3
7The ability to apply specific musical skills to a wide range of professional contexts1, 2, 3, 4, 51.1, 1.2, 1.3
8The capacity to apply technological and creative solutions to contemporary musical practices1, 3, 4, 51.1, 1.2, 1.3
9The ability to incorporate knowledge from the business and legal fields to a portfolio career in the music profession.NANA

#Graduate Attribute
Successful completion of this unit will contribute to the attainment of the following graduate attributes:
Unit Learning OutcomesCourse Learning OutcomesAssessments
1Deep disciplinary knowledge1, 2, 3, 4, 51, 2, 3, 4, 71.1, 1.2, 1.3
2The ability to apply knowledge and skills in innovative ways1, 2, 3, 4, 54, 5, 6, 71.1, 1.2, 1.3
3A commitment to lifelong learning1, 2, 3, 4, 51, 2, 3, 4, 5, 6, 71.1, 1.2, 1.3
4Effective communication skills for diverse contexts1, 4, 53, 5, 6, 71.1, 1.2, 1.3
5The capacity to work independently and collaboratively1, 2, 3, 4, 53, 4, 5, 6, 71.1, 1.2, 1.3