The Aural Skills and Music Theory courses are a series of courses compulsory for all Bachelor of Music students that develop core skills underpinning analytical and practical engagement in a variety of musical idioms, including common practice, jazz, and popular styles. This course introduces students to various analytical approaches to 20th Century and contemporary music repertoire, both theoretical and aurally. The theory component is complemented with the sequential and aligned development of advanced aural skills, including audiation (inner hearing) and aural awareness of complex melodic, harmonic, and rhythmic structures, through individual and group listening, reading and performing (singing), dictation, and aural analysis activities.

Learning Outcomes

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

1. demonstrate an understanding of highly advanced elements of music in both tonal and atonal contexts, including those relating to pitch, melody, harmony, rhythm, and form;
2. reflect critically and apply theoretical knowledge of analytical approaches to 20th Century and contemporary music using professional-level terminology and notation;
3. demonstrate a fluent ability to read and apply advanced music notation, including inner hearing of melodic, harmonic, and rhythmic elements through sight-singing, sight-reading, and performance activities; and
4. aurally identify and interpret with great fluency and creativity some of the more advanced elements of music in tonal and atonal contexts, including highly advanced rhythms and polyrhythms, as demonstrated through notation and performance tasks.

Research-Led Teaching

Music theory and aural skills pedagogy is a research-intensive discipline, led by contemporary enquiry into best practice in theoretical and performance-based approaches to developing musicianship skills. You will be exposed to research by leaders and innovators in the field of music theory and aural skills, informing your theoretical and aural studies and development in music. Peer-reviewed research on multi-stage assessments in Aural Skills: Laue, T. P. (2020). Collaborative multi-stage exams in aural skills education: Theoretical underpinnings and two proposed approaches. In A. Creech (Ed.), Proceedings of the International Society for Music Education 34th World Conference on Music Education: Online 3–7 August 2020, 234–243. Malvern, Victoria: International Society for Music Education. (Link) See also: Teaiwa, T. K. (2005). The Classroom as a Metaphorical Canoe: Cooperative learning in Pacific Studies. WINHEC: International Journal of Indigenous Education Scholarship, 1, 38–48. (Link)

Required Resources

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

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

Edlund, Lars. Modus Novus. Stockholm: AB Nordiska Musikförlaget, 1990.

Recommended Resources

Recommended Texts:

• Clendinning, Jane and Elizabeth Marvin. The Musician’s Guide to Theory and Analysis, 3rd ed. New York: Norton, 2016.
• Clendinning, Jane and Elizabeth Marvin. The Musician’s Guide to Theory and Analysis Workbook, 3rd ed. New York: Norton, 2016.
• Lambert, P. Basic post-tonal theory and analysis, New York: Oxford University Press, 2018.
• Palmqvist, Bengt-Olov. Refinement of Rhythm: Supplement for Rhythmic Dictation. Vol. 2, Canberra: Bopac, 2006.

Suggested supplementary resources, available through the ANU Library system:

• Beach, David and McClelland, Ryan. Analysis of 18th- and 19th-century musical works in the classical tradition. Oxfordshire: Routledge, 2012. 
• Beach, D. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form. 2nd ed. Milton: Taylor & Francis Group, 2019.
• Kopp, D. Chromatic transformations in nineteenth-century music. 1st ed. New York: Cambridge University Press, 2002.

Staff Feedback

Students will be given feedback in the following forms in this course:

• written comments (including via Teams)
• verbal comments
• feedback to whole class, groups, individuals, focus group etc

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Theory: Group project planning and discussionsAural: Syncopated figures & Quintuple meters, secondary dominant audiation
2	Theory: Analysing complex rhythmic structuresAural: Unaccented beats and Septuple meters, augmented sixth audiation
3	Theory: Functional (Riemannian) harmony and analysisAural: Extended triplets, audiating stacked fourths & whole-tones	Task 1
4	Theory: Peer-review workshopsAural: Triplets with subdivisions, and Shifting meters and extension of asymmetrical meters, review stacked fourths and whole tone combinations
5	Theory: Group practice presentations and feedbackAural: Triplets with extended subdivisions, and Variable beat values, audiating stacked augmented chords
6	Theory: Peer-review workshops and group progress reportsAural: Review
7	Theory: Group presentations 1 and discussionsAural: Variable beat divisions with constant pulse, and triplets (3:2) with subdivisions	Task 4
8	Theory: Group presentations 2 and discussionsAural: Variable beat duration, and triplets (3:4), Transposed stacked diminished chords	Task 4
9	Theory: Group presentations 3 and discussionsAural: Lecture quiz. Quadruplets, Quintuplets (5:2) and Septuplets, Multi-part free-tonal singing	Task 4, 5
10	Theory: Culminating creative output / critiqueAural: Quintuplets (5:3, 5:4) and Septuplets Part II
11	Theory: Culminating project peer-review workshops and progress reportAural: Septuplets Part III
12	Theory: Final peer-review sessions and individual presentationsAural: Semester Review / Revision	Task 6
13	Exam Period	Task 2, 3

Tutorial Registration

ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.

Assessment Summary

Assessment task	Value	Due Date	Learning Outcomes
Online Aural quiz - 10%	10 %	07/08/2024	1, 3
Aural transcription exam - 20%	20 %	*	4
Aural Viva Voce - 20%	20 %	*	1, 3, 4
Group project presentation - 10%	10 %	*	1, 2
Group project final report / essay - 25%	25 %	04/10/2024	1, 2
Culminating creative output - 15%	15 %	22/10/2024	1, 2, 3

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines , which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Integrity Rule before the commencement of their course. Other key policies and guidelines include:

• Academic Integrity Policy and Procedure
• Student Assessment (Coursework) Policy and Procedure
• Special Assessment Consideration Guideline and General Information 
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure
• Code of practice for teaching and learning

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Wattle’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Participation

In-person participation is expected for all face-to-face classes. Attendance is a critically important component of learning in this course. A significant proportion of marks is allocated to in-class assessments, and naturally, in-class activities directly feed into in-class assessment outcomes. All in-class tests, in particular those in Aural Skills, are assessed in-class with peer and lecturer feedback provided at the time of the task.

Examination(s)

One Aural transcription (Aural) exam and one Aural Viva Voce assessment scheduled during the exam period

Assessment Task 1

Online Aural quiz - 10%

This task is in the form of a digital submission of a prescribed set of short exercises that assess your ability to read, interpret, and vocalise pitched materials (melodies and chord progressions) and rhythmic materials.

The drills and exercises set for each student will be similar or identical to the exercises and study materials provided for self-study and class workshops in the preceding weeks.

Your submission must be in the form of a single video recording uploaded to the dedicated Week 3 Aural Quiz portal on Wattle. The video must show conducting patterns for all relevant rhythm tasks. All tasks must be completed in a single take (a single, unedited and untrimmed video recording).

Importantly, the feedback provided to you as part of this assessment task is intended to aid you in developing your regular, weekly study routines in preparation for each weekly Aural tutorial. This weekly practice and review, in turn, will develop your ability to confidently demonstrate your skills in your Viva Voce assessment.

Assessment Criteria

• Evidence of consistent weekly improvement through setting effective practice goals and routines
• Fluency and accuracy in vocalisation of rhythms, melodies, and arpeggiated harmonies (vocal quality is not assessed)
• Demonstrated knowledge of dynamics, articulation, phrasing, rhythmic and metric structures, and voice-leading
• Creativity and fluency in prescribed improvisation tasks

Assessment Task 2

Aural transcription exam - 20%

This task comprises transcription tasks in rhythmic, melodic, and harmonic dictation, covering all concepts and skills covered throughout the semester.

There will be set listening and writing time limits for each task, as reviewed and rehearsed in Aural lectures throughout the semester.

The exam will be scheduled by the Central Exams Office during the exam period.

Assessment Criteria

• Aurally identify advanced harmonic, melodic, and rhythmic structures with fluency and precision 
• Clarity of hand-written music notation and other nomenclature
• Ability to synthesis musical elements represented partially in notation and partially in sound
• Ability to aurally detect and correct inconsistencies in notated music

Assessment Task 3

Aural Viva Voce - 20%

This is a 10–15 minute face to face assessment, scheduled individual during the Exam Period over one or more assessment days. There are two components in the Viva Voce:

1. The prepared tasks comprise set exercises that will be provided to you at least one week prior to the assessment date.

2. The unprepared (sight-reading) tasks will be revealed only at the time of assessment.

All tasks are based on the specific aural skills and concepts covered throughout the semester. Tasks in both prepared and unprepared components include singing tonal and atonal melodies and harmonies, conducting and/or performing rhythms, and vocalisation tasks based on music excerpts.

Assessment Criteria

• Demonstrated ability to fluently read and interpret notated tonal and non-tonal pitch material, complex rhythmic and meter structures, and other nomenclature.
• Fluency and accuracy in vocalisation of rhythms, melodies, and arpeggiated harmonies (vocal quality is not assessed)
• Demonstrated knowledge of dynamics, articulation, phrasing, rhythmic and metric structures, and voice-leading
• Creativity and fluency in prescribed improvisation tasks

Assessment Task 4

Group project presentation - 10%

This is a short (15 minute max) presentation summarises your group’s research project or analytical essay (see assessment 5 for details). Your presentation represents a progress report as well as a valuable opportunity to gather mid-stage critiques and peer feedback in a seminar setting.

Presentations take place in-person during the Theory tutorial (each group will be assigned to either Week 7, 8, or 9). Under special circumstances (e.g., timetable clash with another University assessment task) and with prior written approval from the lecturer, a pre-recorded segment by an individual student will be accepted.

Please allowing up to 10 minutes for question and answers. In total, 25 minutes of total class time will be an allocated to each group. Group members should equitably divide the total presentation time.

On the day of the presentation, each student must submit a prescribed peer-evaluation sheet.

Assessment Criteria:

• Effectively convey novel music-theoretical and/or analytical concepts
• Effective use of visual and audio aids
• Appropriate referencing and attribution of published analyses and source materials
• Consistent, equitable, and documented individual contributions towards the final presentation

Assessment Task 5

Group project final report / essay - 25%

For this assessment students will work in small groups (assigned and finalised by Week 1 or 2) to plan and complete either a research report or analytical essay. The essay will relate to either one or two of the provided Group Topic Areas, with reference to the Course Repertoire List as detailed on Wattle.

This report/essay can be either:

• Analytical (in the form of a publishable essay or journal article addressing a specific research question)
• Pedagogical (an instructional, fully referenced resource addressing relevant music theory and/or aural skills topics, and presented in a pedagogical, scaffolded manner)

Submission will include:

• A final research report or analytical essay authored by you and members of your group
• Individual group members’ peer-evaluations (using provided peer-evaluation sheet).

Word length depends on group size: up to 3600 words (3 students) or up to 4800 words (4 students)

No late submissions permitted.

Your final mark will comprise:

• 75% - the marked grade of your group’s report or essay
• 25% - your individual mark, which will be based on peer-evaluations of your individual contribution to specific aspects of the submission (details below)

Assessment Criteria for the group report component (75%):

• Demonstrated ability to critically reflect and synthesise analytical approaches relevant to the music repertoire.
• Appropriate referencing and attribution of published analyses and source materials
• Quality and clarity of annotated scores, notated excerpts, and other visual representations of musical structures
• Consistent, equitable, and documented individual contributions towards the final submitted work

The individual mark component (25%) is based on your individual contribution to the group grade as indicated by:

• The quality of work within the specific task areas, essay sections, or other domains that were identified by yourself and peers in your group's peer-evaluation sheets
• Your overall contribution to the group's final output, as indicated in peer-evaluation sheets
• Your overall contribution to the group as observed through your regular (weekly) engagement with group members during dedicated class times and/or online (Teams)

Assessment Task 6

Culminating creative output - 15%

This task is a culminating creative output, which can be either a Musical Work or a Written Critique (student choice)

Option A: Musical Work, which can be either:

• A notated music arrangement (computer-typeset music score with accompanying recording—synthesised/generated is fine) that creatively applies research ideas from the group project to an existing, established musical work (up to 2 mins long), OR
• A short live performance/presentation (either individual or ensemble) of a chosen excerpt from one of the pieces listed in the Course Repertoire List or a derivative / arrangement of that work (minimum 1 min, up to 2 mins). If the performance is given by two or more students, add one (1) minute per extra individual. I.e., up to 3 mins for 2 students, up to 4 mins for 3 students, 5 mins for 4 students, etc. Performance/presentation to take place during the Theory tutorial in Week 12.

Option B: Written Critique of another group’s project final essay

• The written critique should provide a clear, well-structured critical evaluation of the musical analyses and/or arguments made within another group's submitted final essay (the essay you critique must not be your own group's submission). It should deconstruct one or more aspects of your peer's work, identify both strengths and weaknesses, and include appropriate citations of relevant analytical approaches, theories, published analyses, and/or your own analyses informed by published research and/or theory.
• Word length: 1200 words

Option A Assessment criteria (Musical Work):

• Ability to creatively re-interpret and synthesise the analytical or music-theoretical conclusions set out in one or more Group project final essays
• Appropriate implementation of voice-leading, timbral balance and texture, and harmonic, melodic and rhythmic structures
• Clarity and precision of music notation and/or live performance

Option B Assessment criteria (Written Critique):

• Ability to constructively and creatively critique the analytical or music-theoretical conclusions set out in a Group project final essay (not your own essay)
• Appropriate referencing and citation of a variety of relevant sources
• Clarity and precision of analytical diagrams, charts and/or music notation

Academic Integrity

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

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

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

 

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

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through each specific Assessment Submission page listed on Wattle under the heading 'Assessments'. Submission of hand-written work must be scanned (including photographed) at a high enough image resolution to ensure that visual clarity is excellent and to eliminate any ambiguity due to poor image quality. The scanned image or PDF file must not be subsequently edited other than overall adjustments such as cropping or exposure settings. It is the student's responsibility to confirm that final visual quality of the scanned image is more than adequate for assessment purposes, and to discuss any issues relating to electronically scanning (including photographing) hand-written work for assessments at least seven days prior to the due date of the relevant assessment task.

Hardcopy Submission

For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Late submission not permitted for all examinations and in-class assessments. Submission of examinations or in-class assessments without an extension after the due date and time will result in a mark of 0.

Referencing Requirements

The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material.

Returning Assignments

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

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Resubmission of Assignments

Resubmission of assignments are not permitted in this course. Students should bring all submission-related questions to the attention of the lecturer in the relevant class, as early as possible and prior to the submission due date.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Access and inclusion for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents undergraduate and ANU College students
• PARSA supports and represents postgraduate and research students