An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles. Musicological method; bibliographical studies; working with primary sources. Selected problems for discussion and investigation, with an individual research project presented orally and in writing.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles. Musicological method; bibliographical studies; working with primary sources. Selected problems for discussion and investigation, with an individual research project presented orally and in writing. Selected topics for discussion and investigation from the field of Performance Practice and its historical documentation. The study of source materials; individual projects; performance and/or teaching and direction of music from the area studied.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles. Musicological method; bibliographical studies; working with primary sources. Selected problems for discussion and investigation, with an individual research project presented orally and in writing. Selected topics for discussion and investigation from the field of Performance Practice and its historical documentation. The study of source materials; individual projects; performance and/or teaching and direction of music from the area studied. Detailed study of lute and keyboard tablatures of the fifteenth and sixteenth centuries, including the relation to contemporary mensural notation. Basic principles of intabulation, transcription and editing, with weekly assignments and a final editing project.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles. Musicological method; bibliographical studies; working with primary sources. Selected problems for discussion and investigation, with an individual research project presented orally and in writing. Selected topics for discussion and investigation from the field of Performance Practice and its historical documentation. The study of source materials; individual projects; performance and/or teaching and direction of music from the area studied. Detailed study of lute and keyboard tablatures of the fifteenth and sixteenth centuries, including the relation to contemporary mensural notation. Basic principles of intabulation, transcription and editing, with weekly assignments and a final editing project. Supervised study on a topic in music.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles. Musicological method; bibliographical studies; working with primary sources. Selected problems for discussion and investigation, with an individual research project presented orally and in writing. Selected topics for discussion and investigation from the field of Performance Practice and its historical documentation. The study of source materials; individual projects; performance and/or teaching and direction of music from the area studied. Detailed study of lute and keyboard tablatures of the fifteenth and sixteenth centuries, including the relation to contemporary mensural notation. Basic principles of intabulation, transcription and editing, with weekly assignments and a final editing project. Supervised study on a topic in music. Theory, method and discussion of analysis in popular musicology.
Score: 5.4905925 Details | Listing | Web page
An intensive overview of fundamental written skills in music, and practice in aural perception for the general interest student who has some rudimentary knowledge, and also for those wishing to bring their musical skills up to the level of entry to MUSIC 101. The development of musical responses by means of aural perception and sight singing of scales, intervals, chords of various types, harmonic progressions, rhythms and simple musical forms. Exercises in and analysis of Renaissance polyphony in two and three parts, and the development of musical responses by means of keyboard or fretboard skills. The development of an understanding of the harmonic structure of music through analysis and exercises in Baroque common harmonic practice, particularly four-part chorales. Further development of keyboard or fretboard harmony skills. An introduction to the study of conducting which includes an historical overview and work on posture, patterns and gesture. Emphasis will be placed on choral repertoire. Further development of musical responses by means of aural perception and sight singing, continuing work begun in MUSIC 101. A survey of the technology available to assist musicians. Topics will include: audio recording, computer notation, sound editing and synthesis, sequencing, MIDI, instructional software, music and the Internet. Creativity and craftsmanship in original free composition are studied with some analysis of significant twentieth-century works and exercises in important twentieth-century techniques. Coordination with performers both within and outside the class is important. Continuation of work begun in MUSIC 110. Performance work covering music from different periods: weekly individual lessons, performance classes and ensemble training in one of the following: singing, pianoforte, organ and/or harpsichord, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, an approved orchestral instrument. For the Performance major. Entrance is by audition. Continuation of work undertaken in MUSIC 120. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 122. Performance work covering music from different periods. Weekly individual lessons and performance classes in one of the following: singing, choral conducting, pianoforte, organ and / or harpsichord, fortepiano, guitar, recorder, baroque flute, baroque violin, baroque cello, percussion, or an approved orchestral instrument. Not available for students in the Performance major. Continuation of work undertaken in MUSIC 124. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in section ensembles and full orchestral rehearsals and public performance; the study of ensemble techniques and discipline, and relevant orchestral repertory. Required for Performance majors in orchestral instruments. Participation in choral singing in rehearsal and public performance, and the study of vocal ensemble techniques and choral repertory. Candidates presenting keyboard instruments for Performance will have the opportunity to work with singers or instrumentalists in a study of accompanying techniques and repertory, in rehearsal and public performance. Continuation of work begun in MUSIC 136. A study of the significance of certain major discoveries, inventions and trends in Western music, and their effect on today's âclassicalâ music. No previous knowledge of music is assumed. New Zealand art music and popular music from World War II to the present, with a focus on contemporary practice. A broad range of musical styles and genres and their historical significance and wider social contexts will be discussed, together with notions of cultural identity in music at national and local levels. No previous knowledge of music is assumed. The fundamental principles of: oscillations and wave propagation, stationary waves, resonance, loudness, pitch, tone quality, intervals and scales, the principles of operation of stringed, woodwind, brass and other instruments, and the acoustics of rooms. Language study, based on the needs of singers. The language taught will normally be Italian. In addition to the weekly meetings of the class there will be prescribed language laboratory work, and some intensive periods of language activity. Required for Voice majors. Exploration of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Exploration of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Practical perspective on power and practice in the popular music industry. Enriched by instruction from experts in the field, this course provides fundamental knowledge enabling students to begin functioning in and examining theoretically the complex workings of the local music industry and its multi-million dollar global counterpart. Practical areas covered include: music promotion, publishing and copyright, management, organisation of functions and festivals, legal issues and manufacture. An introduction to writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependent and also the uses of the computer in other sub-genre. Introduces the student to principles of composition specific to popular music. A survey of contemporary popular music styles from the perspective of tools of the creative songwriting process. Analysis and discussion of harmonic, melodic, rhythmic and structural concerns of works by prominent songwriters of the last five years. Explores connections between the traditional skills of songwriting and the international pop chart. The analysis of melodic, rhythmic and harmonic elements of music through the examination of a wide range of music, from plainsong and early polyphony to the present. Exercises in harmonisation based on eighteenth-century practice. Further work in keyboard or fretboard skills. Analysis of tonal forms and exercises in contrapuntal writing based on eighteenth-century practice. Further work in keyboard or fretboard skills. Continues the work in posture and gesture and adds keyboard score-reading and vocal production. Practicum sessions will include work with keyboard/choir and string ensemble. Electronic, digital and physical engineering and design practice; computer applications in audio and related fields; theory and practice of modern synchronisation systems for audio and visual environments. The composition of works for a wide variety of media in conjunction with a study of short pieces. Expansion of technique and realisation of performances. Continuation of work undertaken in MUSIC 210. Technical aspects of writing for instruments in various ensembles with a primary focus on the orchestra; problems of scoring and arranging for ensembles of various sizes. Emphasis is on practical examples and use of performers within the group wherever possible. Relationships to acoustics, synthesis applications and educational implications will also be explored. Students are expected to develop their familiarity with concert repertoire. Continuation of work begun in MUSIC 214. A study of the major works in this medium composed during the last forty years. Introduction to studio techniques, tape music and different methods of sound synthesis. Continuation of the work begun in MUSIC 216. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 220. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of the work undertaken in MUSIC 222. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 224. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 132 and/or 133. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in the courses MUSIC 134. Continuation of the work undertaken in MUSIC 136 and/or 137. Continuation of the work undertaken in MUSIC 136 and/or 137. Rehearsal and public performance of chamber music and ensemble playing. Rehearsal and public performance of chamber music and ensemble playing. The lyric stage, its conventions, problems and practices, and the function and typical structures of music in the theatre. Opera will be the primary focus, with some attention to operetta and musicals. Video and DVD will be the chief media for the study of particular works against their social, cultural, political and intellectual background. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. The aims and scopes of musicological and performance-based research. Topics include the study of modern research tools, a survey of the changes to music-study over the past 100 years, and an introduction to musicological literature and practice. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. This is of particular interest for performance students, who will be encouraged to present historically informed Performances in class seminars. An introduction to current issues in pedagogy for musicians considering instrumental or vocal teaching as part of a portfolio career. Exploration of issues relating particularly to the initial stages of learning an instrument or singing, working either in private practice or as part of a teaching team. Includes particular emphasis on progression and the balance of artistic and technical aspects of learning. More advanced work on languages as required by singers. The languages studied will normally be German and French. Further exploration and development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Further exploration and development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. A further examination and discussion of the popular music industry. Discussion and analysis of the following areas: self management for artist practitioners, record labels, the world wide web, media, legal issues, copyright, promotion and artist management. Students will develop skills necessary to analyse a creative project and create a project management plan, working toward its implementation. Further instruction in writing music using the computer as the primary interface. Explores styles of electronic pop music that are technology dependant and also the uses of the computer in other sub-genre. Further studies of the principles of composition specific to popular music with an introduction to scoring for moving image and multimedia presentations. Musical analysis in the popular music idiom. Techniques of deconstructing music and text from a variety of musical styles in order to identify significant characteristics or trends in composition and lyric writing. The interaction of composition, arrangement, text and instrumentation is a central focus of this study. Training in practical musicianship and contemporary music writing skills for students with prior music training and/or performance experience. Further development of aural recognition of rhythms, scales, intervals, chords and chord progressions, with a strong emphasis on the confident use of singing skills. The extension of analytical skills and the introduction of major current analytical theories of tonality and twentieth century music. Exercises and analysis of harmonic and contrapuntal techniques based on nineteenth and early twentieth century practices. Elements of baton technique, rehearsal planning, management, and advanced score preparation. Composing for various instrumental and vocal resources; computer notation; study of major twentieth century composers and their methods. Continuation of work undertaken in MUSIC 310, including a substantial chamber work. Composition using advanced studio techniques; methods of analog synthesis, FM synthesis, sampling, use of microcomputers for data storage, MIDI and synchronisation. Aesthetics of electronic music, study of selected examples from past and contemporary sources, especially New Zealand studios. Continuation of work undertaken in MUSIC 316. Further performance work, weekly individual lessons, performance classes and ensemble training. Continuation of work undertaken in MUSIC 320. Performance work for students who wish to maintain a high level of study in voice or instrumental performance supplementary to their primary performance study. The work will include regular performance lessons and ensemble playing. Continuation of work undertaken in MUSIC 322. Further performance work, weekly individual lessons and performance classes. Continuation of work undertaken in MUSIC 324. Participation in a collaborative performance project involving any of the following: small instrumental and/or vocal ensemble, choir, orchestra. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 232 and/or 233. Required for Performance majors in orchestral instruments. Continuation of the work undertaken in MUSIC 234. Continuation of the work undertaken in MUSIC 236 and/or 237. Continuation of the work undertaken in MUSIC 336. Advanced work in the fields of chamber music and ensemble playing. Advanced work in the fields of chamber music and ensemble playing. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. A survey of genre, compositional technique, form and style in music of the period. Work includes the examination of specific aspects and examples, set within the historical and cultural context. Continuation of work undertaken in MUSIC 250. Particular attention will be given to musical editions, using editions critically, and related bibliographical and reference tools. A survey of baroque and classical instrumental and vocal performance practice, using eighteenth century treatises and modern commentaries. Practical application of principles in small group performances, in directing ensembles, or in the presentation of a performing edition of a work. Specific exploration and continued development of ideas and processes in the creation of popular music through workshops, seminars, group discussion and composition and arrangement exercises. Students will be required to present aspects of their coursework in live performance. Specific exploration and continued development of performance techniques employed by popular musicians through workshops, seminars, group discussion and live performance. Students will explore the association between these techniques and musical composition. Musicological method applied to the analysis of pop songs, trends and genres. Development of a musicological understanding of theoretical assertions of âauthenticity' and âsuccess'. Particular attention is paid to the publications of established musicologists, with an opportunity to debate their conclusions. New Zealand music provides a focus for some of this course. Advanced instruction in writing music using the computer as the primary interface. Explores styles of alternative to avant-garde electronic pop musics. Further studies of the principles of composition specific to popular music with opportunities to engage in the performance of electro-acoustic works. Traces musical developments in British rock music from 1965 - 1977, with a focus on images of American music reinterpreted by British writers and performers. Key British Invasion bands and the transformations of pop-inflected rock of the mid-sixties into late sixties rock, heavy metal, psychedelic rock, glam and punk. Advanced work in all aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Preparation for and performance of a public recital. The study of Schenkerian analytical theory. The extension of analytical techniques to more complex works of the twentieth century, with particular attention to set theory. A portfolio of composition for a wide range of media; voices, instruments, and electronic resources. Orchestration and instrumentation in the twentieth century, including contemporary instrumental and vocal techniques, with practical scoring exercises. Composition using advanced studio techniques, computer synthesis and study of relevant programming languages such as Csound. The introduction to the programming language MAX. Creative research in aspects of solo performance. Relevant ensemble work, including orchestral rehearsals and performance, may be required. Continuation of the creative research undertaken in MUSIC 720. Advanced work in the field of chamber music and ensemble playing. Advanced work in the field of chamber music and ensemble playing. Historical, analytical and bibliographical approaches to New Zealand music, with the emphasis on major composers and works of the last fifty years. A study of the theory and practice of music-with-words, in the context of European literature and theatre during the period 1750 - 1950. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. Detailed survey of genre, compositional technique, form and style in a period not previously covered in MUSIC 241-247, or 341-347. An overview of choral literature and the pedagogical skills to bring the discipline to the rehearsal room and the concert platform. The course includes analysis, score preparation and attendance at rehearsals/performances of community, tertiary and secondary ensembles. Musicological method; bibliographical studies; working with primary sources. Selected problems for discussion and investigation, with an individual research project presented orally and in writing. Selected topics for discussion and investigation from the field of Performance Practice and its historical documentation. The study of source materials; individual projects; performance and/or teaching and direction of music from the area studied. Detailed study of lute and keyboard tablatures of the fifteenth and sixteenth centuries, including the relation to contemporary mensural notation. Basic principles of intabulation, transcription and editing, with weekly assignments and a final editing project. Supervised study on a topic in music. Theory, method and discussion of analysis in popular musicology. Performance Ensemble - Presentation of at least one of the following: a concerto or similar work with orchestra; a lecture recital; a chamber work; such other work as has been approved by the Head of Music. Recital - A concert recital in an approved instrument or voice.
Score: 5.4905925 Details | Listing | Web page
1 - 25 26 - 50 51 - 75 76 - 100 101 - 125 126 - 150 151 - 175 176 - 200 201 - 225 226 - 250 251 - 275 276 - 300 301 - 325 326 - 350 351 - 375 376 - 400 401 - 425 426 - 450 451 - 475 476 - 500 501 - 525 526 - 550 551 - 575 576 - 600 601 - 625 626 - 650 651 - 675 676 - 700 701 - 725 726 - 750 751 - 775 776 - 800 801 - 825 826 - 850 851 - 875 876 - 900 901 - 925 926 - 950 951 - 975 976 - 1000 1001 - 1025 1026 - 1050 1051 - 1075 1076 - 1100 1101 - 1125 1126 - 1150 1151 - 1175 1176 - 1200 1201 - 1225 1226 - 1250 1251 - 1275 1276 - 1300 1301 - 1325 1326 - 1350 1351 - 1375 1376 - 1400 1401 - 1425 1426 - 1450 1451 - 1475 1476 - 1500 1501 - 1525 1526 - 1550 1551 - 1575 1576 - 1600 1601 - 1625 1626 - 1650 1651 - 1675 1676 - 1700 1701 - 1725 1726 - 1750 1751 - 1775 1776 - 1800 1801 - 1825 1826 - 1850 1851 - 1875 1876 - 1900 1901 - 1925 1926 - 1950 1951 - 1975 1976 - 2000 2001 - 2025 2026 - 2050 2051 - 2075 2076 - 2100 2101 - 2125 2126 - 2150 2151 - 2175 2176 - 2200 2201 - 2225 2226 - 2250 2251 - 2275 2276 - 2300 2301 - 2325 2326 - 2350 2351 - 2375 2376 - 2400 2401 - 2425 2426 - 2450 2451 - 2475 2476 - 2500 2501 - 2525 2526 - 2550 2551 - 2575 2576 - 2600 2601 - 2625 2626 - 2650 2651 - 2675 2676 - 2700 2701 - 2725 2726 - 2750 2751 - 2775 2776 - 2800 2801 - 2825 2826 - 2850 2851 - 2875 2876 - 2900 2901 - 2925 2926 - 2950 2951 - 2975 2976 - 3000 3001 - 3025 3026 - 3050 3051 - 3075 3076 - 3100 3101 - 3125 3126 - 3150 3151 - 3175 3176 - 3200 3201 - 3225 3226 - 3250 3251 - 3275 3276 - 3300 3301 - 3325 3326 - 3350 3351 - 3375 3376 - 3400 3401 - 3425 3426 - 3450 3451 - 3475 3476 - 3500 3501 - 3525 3526 - 3550 3551 - 3575 3576 - 3600 3601 - 3625 3626 - 3650 3651 - 3675 3676 - 3700 3701 - 3725 3726 - 3750 3751 - 3775 3776 - 3800 3801 - 3825 3826 - 3850 3851 - 3875 3876 - 3900 3901 - 3925 3926 - 3950 3951 - 3975 3976 - 4000 4001 - 4025 4026 - 4050 4051 - 4075 4076 - 4100 4101 - 4125 4126 - 4150 4151 - 4175 4176 - 4200 4201 - 4225 4226 - 4250 4251 - 4275 4276 - 4300 4301 - 4325 4326 - 4350 4351 - 4375 4376 - 4400 4401 - 4406