Units

---

Sample subject outline - Semester 2 2013

Note: Subject outlines often change before the semester begins. Below is a sample outline.

Rationale

This unit builds on, and extends, the concepts relating to music and sound creation and presentation covered in Creative Studio 1. It introduces to students to a broader range of contemporary approaches to creation and presentation of creative work and assists students in developing a critical approach to the identification of skill and resource requirements associated with different practices while developing an expanding aural awareness of musical and sonic elements. As the second of two foundation units in creative practice, it develops and consolidates students' skills in exploring and presenting ideas with peers in a controlled, staff-directed environment.

Aims

This unit aims to continue and expand the survey of contemporary approaches to music and sound creation and presentation presented in Creative Studio 1. It aims to build your critical and practical skills as a creative practitioner and to assist you in clearly identifying the necessary skills and resources to achieve a successful presentation outcome. As the second of two foundation units in creative practice, it aims to provide you with the skills to create and present small scale works for, and with, your peers in a staff-directed environment as well as expanding your aural awareness of traditional and non-traditional sounds and concepts.

Objectives

On completion of this unit you should be able to:
1. Analyse, discuss and apply an expanded range of creative approaches within current practice and apply to your artistic practice
2. Collaboratively conceive and realise small-scale original works for peers
3. Analyse, manage and evaluate the processes and practices required for successful collaborative work
4. Represent and discuss an extended range of musical and sonic concepts, techniques and ideas utilising a variety of structures, skills and languages
5. Use appropriate listening skills to recognise, differentiate and analyse key elements in the organisation of music and sound and apply them to your own practice.

Content

This unit addresses content such as current approaches to music and sound creation and presentation, extended technical and critical skill development, skill and resource identification, detailed rehearsal and group collaboration techniques, along with the development of personal artistic directions guided by interactions with staff and visiting professionals.

Approaches to Teaching and Learning

Your learning in this unit will be undertaken through practical workshops, staff mentored rehearsals, group critique sessions, as well as through presentations and performances for peers in on-campus locations. You will receive regular feedback from staff and peers throughout the unit.

Assessment

LATE ASSIGNMENTS
An assignment submitted after the due date without an approved extension will not be marked. If you are unable to complete your assignment on time, you should submit on time whatever work you have done.

Faculty Assessment Information
To access the Creative Industries Faculty Assessment Information see the Blackboard site for this unit.LATE ASSIGNMENTS
An assignment submitted after the due date without an approved extension will not be marked. If you are unable to complete your assignment on time, you should submit on time whatever work you have done.

Faculty Assessment Information
To access complete Creative Industries Faculty Assessment Information please refer to the Blackboard site for this unit.

FORMATIVE ASSESSMENT - Weight 0%
Description: You will receive formative feedback on your progress in this unit during tutorials and discussions throughout the semester and project work-in-progress presentations.

Important note: Weekly attendance and participation is mandatory for this unit. However, to allow for illness and other unforeseen serious events, you will still be eligible to achieve a grade of 4 or higher in this unit providing you attend and participate in all scheduled presentations and at least 80% of rehearsals.

Assessment name: Written Reflection
Description: (Formative and Summative) You will produce a detailed written analysis and evaluation of workshops you participated in during the semester and how they directly apply to your developing creative practice.
Relates to objectives: 1, 3 and 4
Weight: 10%
Internal or external: Internal
Group or individual: Individual
Due date: End of Semester

Assessment name: Group Collaboration
Description: (Formative and Summative) Participation in small groups, where you contribute to the creative planning, rehearsal and presentation of original small-scale works.
Relates to objectives: 1, 2, 3, 4
Weight: 60%
Internal or external: Internal
Group or individual: Group with Individual Component
Due date: Throughout Semester

Assessment name: Aural Awareness
Description: (Formative and Summative) Assessment of traditional and non-traditional concepts and aural skills.
Relates to objectives: 4, 5
Weight: 30%
Internal or external: Internal
Group or individual: Individual
Due date: End of Semester

Academic Honesty

QUT is committed to maintaining high academic standards to protect the value of its qualifications. To assist you in assuring the academic integrity of your assessment you are encouraged to make use of the support materials and services available to help you consider and check your assessment items. Important information about the university's approach to academic integrity of assessment is on your unit Blackboard site.

A breach of academic integrity is regarded as Student Misconduct and can lead to the imposition of penalties.

Resource materials

Required Text
Readings deemed essential by the teaching staff will be available on the unit Blackboard site under the Course Materials Database.

Recommended References

Burgess, R.J. 2002. The Art of Music Production,/em>. London: Omnibus Press.

Bouchard, George. 2001. Intermediate Jazz Improvisation: A Study Guide for Developing Soloists. USA: Jamie Aebersold Jazz,

Carratello, J. 2008. Seth Riggs Singing for the Stars: A complete Program for training your voice. USA: Alfred

Gracyk, T. 1996. Rhythm and Noise: An Aesthetics of Rock, Durham: Duke University Press.

Green, L. 2002. How Popular Musicians Learn. Ashgate: Aldershot.

Hindson, M. et al. 2006. Music Composition Toolbox. Sydney: Science Press.

Kahn, D. 1999. Noise, water, meat: a history of sound in the arts. London: MIT Press.

Lacasse, S. 2000. 'Listen to My Voice': The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. Ph.D. Dissertation. University of Liverpool. Available at:

Martin, G. 1979. All You Need is Ears,. London: Macmillan.
-1983. Ed. Making Music. London: Pan Books.

Massey, H. 2000. Behind the Glass - Top Record Producers Tell How They Craft the Hits. San Francisco: Backbeat Books.

Moylan, W. 2002. The Art of Recording: Understanding and Crafting the Mix,. Amsterdam and London: Focal Press.

Obert, K.B. and Chicurel, S.R. 2005. Geography of the Voice: Anatomy of an Adam's Apple. New York: Vocal Innovations.

Vella, R. and Arthurs, A. 2000. Musical Environments. Sydney: Currency Press.

Walser, R. 2003. Pop Music Analysis: ten apothegms and four instances. In: Moore, A.F. ed. Analyzing Popular Music. Cambridge: Cambridge University Press.

Webb, J. 1998. Tunesmith: inside the art of songwriting,. New York: Hyperion.

Zak III, A.J. 2001. The Poetics of Rock: Cutting Records, Making Tracks. London: University of California Press.

top

Risk assessment statement

Excessive noise in confined spaces can damage hearing. Exposure to such noise should be brief and controlled.
- Personal injury is possible from incorrectly lifting heavy electronic or acoustic instruments or equipment.
- The physical demands of playing instruments may cause injuries such as repetitive strain injury. If in doubt consult a physician
- The use of electronic instruments and equipment may cause electrocution if handled incorrectly or an electrical fault occurs. Always ensure your equipment has been regularly tested by a qualified electrician.
- Musical, electrical and computer equipment is prone to failure. Any loss of time for such failures should be accounted for in your planning.
- Safety of data storage can never be fully guaranteed. You are required to take all steps necessary to ensure continuity of your data.

Disclaimer - Offer of some units is subject to viability, and information in these Unit Outlines is subject to change prior to commencement of semester.

Last modified: 03-Apr-2013