Program Coordinator
Professor Aaron Corn
Schulz 6.05
8313 3652
aaron.corn@adelaide.edu.au

Heads of Study
Ms Lucinda Collins (Head of Piano)
Elder Hall LG 06A :
8313 5966
lucinda.collins@adelaide.edu.au

Ms Elizabeth Layton (Head of Strings)
Elder Hall LG 28
8313 3600
elizabeth.layton@adelaide.edu.au

Associate Professor Carl Crossin (Head of Voice)
Schulz 9.18
8313 5924
carl.crossin@adelaide.edu.au

Associate Professor Elizabeth Koch (Head of Performance Studies)
Elder Hall LG 15
8313 5343
elizabeth.koch@adelaide.edu.au

On successful completion of this course students will be able to:

1. Develop student’s technical skill to an appropriate level for seamless, consistent and wide ranging tonal production and fluency in the performance of pedagogically significant works of elementary to intermediate levels of difficulty. 

2. Develop their stylistic awareness to an appropriate level for historically informed and compositionally empathetic performance of pedagogically significant works of elementary to intermediate levels of difficulty.

3. Develop their interpretive ability to an appropriate level for insightful and creative performance of pedagogically significant works of elementary to intermediate levels of difficulty. 

4. Increase the scope of their performance repertoire to encompass a variety of pedagogically significant works of elementary to intermediate levels of difficulty.
 
5. Develop sound pedagogical principles that enable insightful verbal commentary to be made concerning the purposes and contexts of repertoire being performed.

6. Further develop a fluent use of spoken language that adequately underpins and communicates ideas and concepts being outlined during a lecture/recital.

7. Increase their perception of and focus on the constituent elements of pedagogy and performance to ensure congruency between verbal commentary and performance practice undertaken during a lecture/demonstration.

8. Develop effective autonomous and well directed practice regimes that build towards a finessed and meaningful lecture/demonstration performance.

Keyboard
Tait,M. and Haack,P. 1984. Principles and Processes of Music Education. New York and London. Teachers College Press. Columbia University.
Beetlestone, F. 1998. Creative Children, Imaginative Teaching. Buckingham and Philadelphia. Open University Press.
Craft, A., Jeffrey, R., Leibling, M. 2001. Creativity in Education. London and New York. Continuum
Gumm, A. 2003. Music Teaching Style: Moving beyond tradition. Galesville. Meredith Music Publications.
Parncutt, R., and McPherson, G. 2002. The Science and Psychology of Music Performance. Oxford and New York. Oxford University Press. Ctrozier, R., Scaife, N., and Marks, A. 2004. All Together! Teaching music in groups. London. Associated Board.
Baker-Jordan, M. 2003. Practical Piano Pedagogy. Miami. Warner Bros. Publications
Jacobson, J. 2006. Professional Piano Teaching. Los Angelis. Alfred Publishing Inc.
Magrath, J. 1995. The Pianist’s Guide to Standard Teaching and Performance Literature. Van Nuys, CA. Alfred Publishing Inc.
Proceedings of the Australasian Piano Pedagogy Conferences, 1993 – 2007.
Additional booklists and other sources of information will be distributed throughout the course.

Voice
Appelman,D.Ralph, The Science of Vocal Pedagogy,Bloomington,Indiana University Press,1967
Brown, Oren, Discover your Voice, San Diego, London, Singular Publishing Group 1996
Bunch, Meribeth, Dynamics of the Singing Voice,4 Ed., Wien ,New York, Springer Verlag 1997
Chapman, Janice, Singing and Teaching Singing, San Diego, London, Brisbane, Plural Publishing 2006
Doscher, Barbara, The Functional Unity of the Singing Voice, Lanham, London, The Scarecrow Press 1994
Garcia, Manuel, Hints on Singing [1894], Kessinger Publishing Rare Reprints, www.kessinger.net
Heirich, Jane Ruby Voice and the Alexander Technique, Berkeley, Mornum Time Press 2005 [Husson,
Raoul, Physiologie de la Phonation, Paris, Masson et Cie 1962]
Husler, F and Rodd-Marling,Yvonne, Singing. The Physical Nature of the Vocal Organ, Melbourne, London, Hutchinson Publishing 1976 Kimball, Carol, A Guide to Art Song Style and Literature, Milwaukee, Hal Leonard, 2005
McKinney, James, Diagnosis and Correction of Vocal Faults, Nashville, Broadman Press 1982
Miller, Richard, Training Tenor Voices, New York, Schirmer Books,1993
Miller,Richard, Training Soprano Voices, Oxford University Press, USA 2000ï‚· ISBN-10: 0195130189 ISBN-13: 978-0195130188
Miller, Richard, Solutions for Singers, Oxford,OUP 2004
Power, Patrick, How the Voice Works, Handout ,University of Adelaide 2010
Phillips, Kenneth, Teaching Kids to Sing Riggs, Seth Singing for the Stars, Van Nuys CA,Alfred Publishing 1998
Stone, R and J, Atlas of Skeletal Muscles, Boston, Sydney, McGraw Hill 2001
Vennard, William, Singing the Mechanism and the Technique, New York, Carl Fischer 1967
Wall, Joan et al, International Phonetic Alphabet for Singers, Dallas, Psst Inc.1989
Ward,Christine,Teaching to Learn, Accelerated Learning Institute [NZ]Ltd 2001 ISBN0-473-06314-X [
Warren, Ivor, The Grammar of Singing, London A. Hammond and Co] Wilson FRCS,
Thomas Wind and Voice, Dublin Minim Press 1984

Resources and announcements may be posted on MyUni under MUSPFPERF 6016

The Elder Music Library Music Resources Guide at http://libguides.adelaide.edu.au/music 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.

One-to-one lessons prepare students for intensive and focused individual practice and preparation of general instrumental/vocal repertoire and exercises, plus pedagogically significant works of elementary to intermediate levels of difficulty. They also allow for assessment of progress made since the previous lesson.

Students are also encouraged to explore extended skills and knowledge through attendance at and participation in master classes, workshops and concerts as appropriate.

 
WORKLOAD                                                                     TOTAL HOURS
Research seminar
Seminar/workshop/concerts                                          12 hours per semester
 
Research and Practice 24 hours per week (minimum)     288 hours per semester
 
1:1 lessons 1 hour per week                                          12 hours per semester

Attendance at lessons, plus approximately 24 hours practice/preparation per week, will result in approximately 26 hours workload per week.

12 hours of one-to-one lessons focus on increasing instrumental/vocal performance knowledge, understanding and stylistic interpretation. Preparation for a Lecture-Recital comprising pedagogically significant works of elementary to intermediate levels of difficulty is a feature. Intensive individual practice/preparation is required. Scheduling and duration of one-to-one lessons is by individual arrangement with the lecturer concerned.

A Department of Communities and Social Inclusion clearnace is required for placements in schools.


This course is designed to complement MUSPFPED 6015 Pedagogy Recital IV, and it is advised it should be completed prior to commencing MUSPFPED 6015.

The schedule of 1:1 individual lessons enables technical and musical issues to be explored, and short-term and long-term goals to be designed in order to target individual needs.

30-minute lecture-demonstration. For this lecture/demonstration Piano Performance and Pedagogy candidates should present works which assist technical and musical growth in pupils from elementary to intermediate levels such as the Classical Sonatinas and Studies of Clementi, Kuhlau, Bergmuller and Diabelli, and educational works by Swinstead, Kabalevsky, Gillock and Vandall. Candidates’ performance and presentation will be regarded as complementary and assessed as a whole.

Participants are required to support their performance through the agency of good quality program notes (ungraded requirement). Recital programs are subject to approval and details must be submitted to the discipline specific pedagogy lecturer well in advance of the lecture-recital.

Weighting: 100%

Learning Outcomes 1 - 8

Completion/Due Date: End of Semester

LECTURE, TUTORIAL, WORKSHOP OR PRACTICALLY BASED COURSE PARTICIPATION AND ATTENDANCE EXPECTATIONS
Active and positive participation in 100% of required lectures, tutorials, workshops or other practically based courses is expected.

LEAVE Sick Leave, Compassionate Leave or Professional Development Leave may, upon application using the relevant Leave of Absence form, be approved by the course coordinator or relevant staff member. (See Leave descriptors in the Conservatorium’s Participation and Attendance Policy for details.)

PENALTY Although active and positive participation in 100% of required lectures, tutorials, workshops and practically based classes is expected, any student who attends less than 100% of required classes without approved Leave will receive a 2% penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the year for the relevant component - ie after all other assessments have been completed and calculated. Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or Co-ordinator’s discretion, be regarded as an unapproved absence

All matters concerning the lecture-demonstration program and program notes will be discussed with the lecturer concerned during one-to-one lessons.

Lecture-demonstration programs are subject to approval and details must be submitted to the discipline specific pedagogy lecturer by the fourth week of the Semester. Students should discuss an appropriate date, time and venue for their Lecture-Demonstration with the Postgraduate Student Administrator by the fourth week of the Semester. They should also allow ample time for the compilation and printing of program notes.

It is expected all assessments including presentations, listening tests, practical examinations, written examinations and assignments will be undertaken and submitted as required (see Teaching and Learning Activities). However, Assessment Task Extension, Replacement Examination, Additional Assessment and Deferred Modified Arrangements are available on medical, compassionate or extenuating grounds. Full information concerning these matters can be found on the University website under University Policies and Procedures, Modified Arrangements for University Coursework Assessment Policy, at http://www.adelaide.edu.au/policies/3303/ Where possible it is advisable to discuss the matter with the lecturer concerned in the first instance.