Course Timetable

Careers seminar	Tuesday	3-4 pm	Hughes Lecture Theatre
History lecture	Wednesday	2-4 pm	Hughes Lecture Theatre

Learning outcomes

On successful completion of this course the students will acquire:

1. a conceptual understanding of the range of significant styles in which musical fusions have developed since the early 20th century to the present.


2. high level research and writing skills


3. high level listening skills and repertoire knowledge


4. knowledge of historical perspectives in recent music


5. skills in using online technologies for research


6. an awareness of career opportunities and pathways in the music industry

Learning resources

Required resources

Weekly related readings (see below), are available either as a PDF on MyUni, online via the Elder Music Library, or external websites.

Recommended Resources

Library

The Music Library located in the Hartley building is an excellent source for music, literature and recordings: http://www.adelaide.edu.au/library/branch/eml/

Music Resources Guide

The Music Resources Guide contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here, too, you can find a regularly updated list of new books, scores, CDs and DVDs available in the Elder Music Library: http://libguides.adelaide.edu.au/music.

 
Ake, David (ed). Jazz/Not Jazz: The Music and Its Boundaries (Los Angeles:

University of California Press, 2012)

Anon. Australasian music industry directory, 33rd ed. (Newtown: Immedia,

2001)

Anon. The rock pages: A guide for young musicians on how to get started in

the S.A. music industry and keep going (North Adelaide: Carclew

Youth Arts, c1995)

Atton, Chris. ‘Living In The Past: Value Discourses in Progressive Rock

Fanzines’. Popular Music, Vol 20, No.1 (Jan 2001), pp. 29-46

Auslander, Philip. Liveness: Performance in a Mediatized Culture (New York:

Routledge, 2007)

Carroll, Mark. ‘Out of the Ordinary: The Quotidian in the Music of Graeme

Koehne’, Music & Letters 95.3 (2014): 429-451

Connor, Stephen (ed.), The Cambridge Companion to Postmodernism

(Cambridge: Cambridge University Press, 2004

Cowen, Tyler. In Praise of Commercial Culture (Cambridge: Harvard University

Press, 2000)

Day, Timothy. A Century of Recorded Music: Listening to Musical History (New

Haven, Connecticut: Yale University Press, 2001)

Fellezs, Kevin. Birds of Fire Jazz, Rock, Funk, and the Creation of Fusion

(London: Duke University Press, 2011)

Frith, Simon. Taking Popular Music Seriously (Aldershot: Ashgate, 2007)

Goldberg, Justin. The ultimate survival guide to the new music industry:

Handbook for Hell (Los Angeles: Lone Eagle Pub., c 2004)

Hannan, Michael. The Australian guide to careers in music (Sydney:

University of New South Wales, 2003)

Harper-Scott, JPE and Jim Samson (eds). An Introduction to Music Studies

(Cambridge: CUP, 2012)

Hollander, Pamela. ‘Elevate My Mind’: Identities for Women in Hip Hop Love

Songs’
Studies in Popular Culture, Vol. 36, No. 1 (Fall 2013) p. 109
Howland, John. Ellington Uptown: Duke Ellington, James P. Johnson, and the

Birth of Concert Jazz (Ann Arbor: University of Michigan Press, 2009)

Holloway, Rowena. Making music: a continuous case study of marketing in

the music industry (Frenchs Forest N.S.W. : Pearson, 2003)

Katz, Mark. Capturing Sound: How Technology has Changed Music (Berkeley,

California: University of California Press, 2005)

Kelley, Robin. Africa Speaks, America Answers: Modern Jazz In Revolutionary

Times (Cambridge, Mass. 2012)

Kirby, Alan. ‘The Death of Postmodernism and Beyond’, Philosophy Now 58 (2006) at http://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond
 
Latham, Christopher. Survival of the fittest: The artist versus the corporate

world (Strawberry Hills: Currency House, 2004)

Lopes, Paul. The Rise of a Jazz Art World (Cambridge: Cambridge University

Press, 2002)

Lysloff, Rene and Leslie Gay. (eds.), Music and Technoculture (Middletown

Connecticut: Wesleyan University Press, 2003)

Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture (New York. Oxford University Press, 2002)

Negus, Keith. Music Genres and Corporate Cultures (New York: Routledge,

1999)

Nicholson, Stuart. ‘Jazztronica: A Brief History of the Future of Jazz’ JazzTimes

(2003)

http://jazztimes.com/articles/14149-jazztronica-a-brief-history-of-the-future-of-jazz
 
Peyser, Joan. The Orchestra (Michigan: Billboard Books, 2000)

Santoro, Gene. Highway 61 Revisited: The Tangled Roots of American Jazz,

Blues, Rock, and Country Music (New York: Oxford University Press,

2004)

Schulenberg, Richard. Legal aspects of the music industry: An insider’s view

(New York: Billboard Books, 1999)

Toynbee, Jason. Making Popular Music: Musicians, Creativity and Institutions

(London: Arnold, 2000)

Williams, Justin. ‘The Construction Of Jazz Rap as High Art in Hip-Hop Music’.

Journal of Musicology, Vol 27, No.4 (Fall 2010) pp. 435-459

 
Careers online sources:

Music in Australia

http://musicinaustralia.org.au/index.php?title=Welcome

 
ArtsHub

http://www.artshub.com.au

Online learning

MyUni will be used to provide details of lecture and seminar content, set readings, assessment advice, and announcements.

Learning & Teaching Activities

Learning & Teaching modes

Lectures and seminars will cover and explore the range of topics as set out in the Course Outline. Spoken word delivery will be supported by audio-visual exhibits and other media.

Workload

The information below is provided as a guide to assist students in engaging appropriately with the course requirements.

In addition to the required contact hours, students are expected to play an active role in the practice, refinement and consolidation of their knowledge and understanding. For each hour of this course students will need to spend on average an additional minimum of 3-4 hours per week on readings, critical listening, self-initiated learning and research in order to pass the course.

Learning Activities Summary

The information below is divided into history and theory lecture topics. It is intended as a guide, and may change in response to needs arising during the semester. 

History Topics

Week 1: Introduction and Overview

Week 2: Jazz/classical

Week 3: Progressive rock

Week 4: Classical/pop

Week 5: Jazz/country/Americana

Week 6: Jazz/R&B/rock

Week 7: Jazz/pop

Week 8: Hip Hop/rock

Week 9: World music

Week 10: Jazz/rap/hip hop

Week 11: Jazztronica

Week12: Pop/electronica 


Careers topics

The careers seminars will be presented by a range of industry figures, and will cover topics including grant and job applications, career choice, copyright, business practice, online marketing and promotion and the various facets of the music industry.

Assessment Summary

Assessment task	Task type	Weighting	Learning Objective/s
Annotated bibliography	Formative	15%	1,2,4
Research Essay	Formative and summative	40%	1,2,4,5
Exam	Summative	30%	1,3,4
Careers Assignment	Formative	15%	2,5,6

Assessment detail

Annotated bibliography (15% total mark for semester)

Word count: 1000 words 

Students are asked to provide an annotated bibliographic survey relating either to a lecture topic presented as part of the series, or on a topic of their choice, which may be the final essay topic. Students will identify and cite correctly 10 separate entries, a maximum of five of which can be online resources. The annotation will give a considered summary/critique of the given entry, and outline its relevance to the topic selected.

Bibliography and references are to be cited according to either MLA or Harvard styles, as described in the Elder Conservatorium Music Referencing Guide: http://libguides.adelaide.edu.au/content.php?pid=411678&sid=3365050

Essay (40% of total mark for semester)

Word count: 2000 words (NOT including bibliography and references)


Students are free to write on a topic relevant to their fields of interest and expertise. 


History Exam (30% of total mark for semester)


During the Examination period there will be a paragraph answer exam, during which you will be asked to answer in paragraph form FOUR of eleven questions given to you towards the end of the first term. The questions address selected weekly lecture topics. 


Careers Assignment (15% of total mark for semester)

Assessment is in two parts, with each part comprising 50% of the mark for the Careers component. 


Assessment 1 – Students are to provide a summary of the seminar series. The summary (600 words IN TOTAL) should incorporate specific points raised by the guest lectures (ie, no waffle). You should conclude by reflecting briefly on what the series tells you about your own career prospects.

 
Assessment 2 – EITHER submit a mock (or real) job application OR a mock grant application, both of which are to contain a detailed CV. As per the advice of lecturers, the grant application should include a rough budget.

Submission

Late assignment policy:

Late written assignments will be accepted to a maximum of 7 days late with a late penalty of 2 marks per calendar day applied. 

Extensions without penalty may be granted when supporting documentation can be provided and then, and only then, by arrangement with the course lecturer prior to the due date and time. Extensions will not be granted under any other circumstance. 

To apply for an extension, use the medical/compassionate application form available at:

https://www.adelaide.edu.au/student/exams/forms/medical-compassionate-application-form.pdf

The completed form should be submitted to the Elder Conservatorium Office, either in person at the Music Office front desk (Schulz Building Level 9, access via western Schulz lifts) or via email: music@adelaide.edu.au



Students will receive feedback on their assessment tasks.