MUSPOP 2202 - Song Writing & Performance 2B
North Terrace Campus - Semester 2 - 2024
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General Course Information
Course Details
Course Code MUSPOP 2202 Course Song Writing & Performance 2B Coordinating Unit Elder Conservatorium of Music Term Semester 2 Level Undergraduate Location/s North Terrace Campus Units 3 Contact Up to 4 hours per week Available for Study Abroad and Exchange Y Prerequisites MUSPOP 2201 Incompatible MUSPMACT 2012 Restrictions Available to BMus, BMedia (Pop Music Major), DipMus students only Assessment Research essay 30%, Portfolio 40%, Recital 30% Course Staff
Course Coordinator: Associate Professor Luke Harrald
Teaching Staff:
Dr Luke Harrald
Mr Derek Pascoe
Contact details available via MyUni under "Course Contacts".Course Timetable
The full timetable of all activities for this course can be accessed from Course Planner.
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Learning Outcomes
Course Learning Outcomes
On successful completion of this course students will develop:
1 An understanding of compositional and music production principles 2 An understanding of contemporary popular music idioms 3 Creativity and individuality as an artist; leading to the development of their own compositional voice 4 The ability to interpret and perform the compositions of others 5 A thorough understanding of the roles, responsibilities and activities involved in live Contemporary Music performance;
both live and in the studio6 Time and project management skills relating to music production in order to manage creative and technical requirements and meet deadlines University Graduate Attributes
This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:
University Graduate Attribute Course Learning Outcome(s) Attribute 1: Deep discipline knowledge and intellectual breadth
Graduates have comprehensive knowledge and understanding of their subject area, the ability to engage with different traditions of thought, and the ability to apply their knowledge in practice including in multi-disciplinary or multi-professional contexts.
1, 2, 4, 5 Attribute 2: Creative and critical thinking, and problem solving
Graduates are effective problems-solvers, able to apply critical, creative and evidence-based thinking to conceive innovative responses to future challenges.
1, 2, 3, 4, 5, 6 Attribute 3: Teamwork and communication skills
Graduates convey ideas and information effectively to a range of audiences for a variety of purposes and contribute in a positive and collaborative manner to achieving common goals.
4, 5, 6 Attribute 4: Professionalism and leadership readiness
Graduates engage in professional behaviour and have the potential to be entrepreneurial and take leadership roles in their chosen occupations or careers and communities.
5, 6 Attribute 5: Intercultural and ethical competency
Graduates are responsible and effective global citizens whose personal values and practices are consistent with their roles as responsible members of society.
. Attribute 6: Australian Aboriginal and Torres Strait Islander cultural competency
Graduates have an understanding of, and respect for, Australian Aboriginal and Torres Strait Islander values, culture and knowledge.
. Attribute 7: Digital capabilities
Graduates are well prepared for living, learning and working in a digital society.
. Attribute 8: Self-awareness and emotional intelligence
Graduates are self-aware and reflective; they are flexible and resilient and have the capacity to accept and give constructive feedback; they act with integrity and take responsibility for their actions.
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Learning Resources
Required Resources
• Class handouts and materials placed on MyUni.
• Each week students will be required to bring their instruments, or other technology they require to realise their group work.
Headphones and personal file storage such as a portable hard drive or USB flash drive for use in the EMU Audio Lab.Recommended Resources
Reading
Beall, Eric (2009) The Billboard Guide to Writing and Producing Songs that Sell. Billboard Books: Crown Publishing Group, New York.
Braheny, John (2006) The Craft and Business of Songwriting. Writer’s Digest Books, F+W Publications, Cincinnati.
Chase, Wayne. (2006) How Music Really Works. Roedy Black Publishing, Vancouver.
Clark, Rick. Mixing, Recording, and Producing Techniques of the Pros Insights on Recording Audio for Music, Video, and Games. 2nd ed. Boston Independence: Course Technology CENGAGE Learning [Distributor].
Covach, John (2009) What’s that sound: an introduction to rock music and its history. Second edition. W.W. Norton & Company, New York.
Gilreath, Paul (2010) The Guide to MIDI Orchestration. Focal Press, London.
Kachulis, Jimmy (2005) The Songwriters Workshop: Harmony. Berklee Press, Boston.
Katz, Robert (2007) Mastering Audio: The Art and the Science. Second Edition. Focal Press, Burlington.
Perricone, Jack (2000) Melody in Songwriting: Tools and techniques for Writing Hit Songs. Berklee Press, Boston.
Stavrou, Michael Paul. (2003) Mixing with Your Mind : Closely Guarded Secrets of Sound Balance Engineering. First Edition. Flux Research, Mosman, NSW.
Wood, Clement (1936) The Complete Rhyming Dictionary and Poet’s Craft Book. Dell Publishing, New York.
Websites
Gary Ewers – The essential secrets of songwriting http://www.secretsofsongwriting.com/author/genwps/
Mix Magazine http://mixonline.com
ProTools Software http://www.avid.com
Waves Plugins http://www.waves.com
Sound on Sound Magazine http://www.soundonsound.comOnline Learning
Learning materials and assessment will be placed on MyUni. Usage of MyUni will include Announcements, Digital readings, External web-links and Recordings of classes; particularly student performances to enable students to critically reflect on their experiences in class. -
Learning & Teaching Activities
Learning & Teaching Modes
The course structure and content is delivered through a range of classes and materials. Class delivery modes include a weekly seminar and practical workshop. The classes in this course use a format where students are presented with theoretical and/ or practical content through the seminar. The theoretical content creates a topic framework that students then expand theoretically through discussions and exercises during the seminar, and practically through performing their work in the workshop. Students will also be expected to further expand the topics presented using out-of-class resources that are presented online, improve their studio skills through regular bookings of the recording studio, and rehearsing in their own time. The online resources and additional rehearsals will compliment, reinforce and extend the concepts presented.
The classes provide theoretical explanations of composition, production and song writing techniques; discussion of their creative and technical application in various styles and genres; and their practical application to creativity through students preparing their work for both studio recording and performance.Workload
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.
WORKLOAD TOTAL HOURS 1 x 2-hour seminars per week 24 hours per semester 1 x 2-hour workshop per week 24 hours per semester 6 hours rehearsals & readings per week 72 hours per semester 1 hours research per week 12 hours per semester 2 hours assignment preparation per week 24 hours per semester TOTAL = 156 hours per semester Learning Activities Summary
The course structure and content will examine the areas below through weekly theoretical and/or practical demonstrations and exploration. The following list of topics is supplied as a guide, and may change depending on needs arising through the semester. Further detail regarding weekly content can be found on MyUni.
Schedule WEEK SEMINAR TOPIC Week 1 Course Introduction & the producer's role Week 2 Composing using modern mix techniques Week 3 Approaches to voice Week 4 Pitch Editing: Compositional Uses Week 5 Manipulating Drum Tracks / Sample Replacement Week 6 Considering Briefs / Marketing Week 7 Top 10 Discussion Week 8 Producer Series: 60s – George Martin, Phil Spector Week 9 Producer Series: 70’s – Georgio Moroder, Quincy Jones, Brian Eno Week 10 Producer Series: 80’s – Rick Rubin, Andy Wallace Week 11 Producer Series: 90’s – Steve Albini, Buch Vig Week 12 Producer Series: 2000’s – Dr. Dre, Timbaland Specific Course Requirements
EMU Facilities
This course will involve using the resources of the Electronic Music Unit (EMU). This includes facilities such as studios, recording spaces and digital audio workstations.
Information on use of the EMU Faclities, including Access, Bookings, Support and Penalties for misuse are available via the following link:
https://myuni.adelaide.edu.au/courses/25086
Sound Levels & Hearing Protection
This course may require using spaces where a dB meter has been installed. If you exceed the set dB limit for the space, the lights will flash. Students found exceeding these levels will have their booking privileges revoked for two weeks, and repeat offenders may have their booking privileges revoked for the remainder of the academic year.
In order to minimise risk in noise-prone situations, the Conservatorium makes both reusable gel ear-plugs and disposable foam ear-plugs available to students and staff free of charge at all times. Students and staff are also urged to consider purchase of customised personal hearing protection.
For more information regarding sound levels, hearing and hearing loss please refer both to the full content of the O'Brien Report and to the excellent publication by Canadian audiologist/academic Marshall Chasin, entitled Hear the Music: Hearing Loss Prevention for Musicians both available here: https://arts.adelaide.edu.au/music/health-safety-and-wellbeing
Rehearsal Spaces
This course will require that students rehearse both individually and as a part of their group. For individual practice, students may book and use any of the rehearsal rooms contained within the Conservatorium with a limit of two hours per day for any individual space as per the Conservatorium’s Rehearsal guidelines. For more specific group work, rehearsal space with a backline (Drumkit, Guitar and Bass Amplifiers and an electric piano) and PA system has been provided in Schulz B14. Bookings of this space may be made through the online booking system: https://elder.bookedscheduler.com/
All spaces must be left in a neat and tidy state ready for the next user when you finish rehearsing. -
Assessment
The University's policy on Assessment for Coursework Programs is based on the following four principles:
- Assessment must encourage and reinforce learning.
- Assessment must enable robust and fair judgements about student performance.
- Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
- Assessment must maintain academic standards.
Assessment Summary
Assessment Task Task Type Weighting Course Learning Outcome(s) Research Essay Summative 30% 1, 2, 3, 5, 6 Portfolio Summative 40% 1, 2, 3, 5 Recital Summative 30% 1, 2, 4, 5, 6 Assessment Related Requirements
Expectation & Penalty
As per Conservatorium policy, active and positive participation in 100% of classes is expected. Any student who attends less than 80% of required classes without approved leave may result in a 5 (five) mark penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the semester for the relevant component i.e. 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.
Leave
The Conservatorium recognises that extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases leave may be approved by the relevant staff member - students should contact the lecturer and gain approval prior to taking the leave.Assessment Detail
Research Essay: 1500 words, not including Bibliography and Referencing. Students will research a topic from a variety of set topics that will contribute to their creative portfolio, giving their creative work more depth and research impetus.
Portfolio: The Portfolio represents the major practical assessment for the semester and will involve the creation of a minimum of three songs, one of which will be a set work; ie. students will be required to write to a brief. All creative works will be required to be recorded for submission, either through groups assigned in the workshop, or alternatively students may organise their own groups. As a major focus of this class is music production, all students will be expected to produce and record their own music in the recording studio.
Recital: Students will be assessed on their contribution to the preparation and delivery of a public recital of their work, held during the examination period. Central to this assessment is the role they play in the delivery of both their work, and that of other students, and their level of performance in the Recital. As part of this assessment, students will be required to keep a log of all out of class rehearsals, including day, time, length and personnel in attendance, and 10% of their grade will be tied to workshop participation.Submission
All written and recorded materials will be submitted online via MyUni. Practical assessments will take place either in-class, or at the off-campus performance. Note that due to practicalities, extensions for practical assessments are not possible.Course Grading
Grades for your performance in this course will be awarded in accordance with the following scheme:
M10 (Coursework Mark Scheme) Grade Mark Description FNS Fail No Submission F 1-49 Fail P 50-64 Pass C 65-74 Credit D 75-84 Distinction HD 85-100 High Distinction CN Continuing NFE No Formal Examination RP Result Pending Further details of the grades/results can be obtained from Examinations.
Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.
Final results for this course will be made available through Access Adelaide.
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Student Feedback
The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.
SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/) course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.
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Student Support
- Academic Integrity for Students
- Academic Support with Maths
- Academic Support with writing and study skills
- Careers Services
- International Student Support
- Library Services for Students
- LinkedIn Learning
- Student Life Counselling Support - Personal counselling for issues affecting study
- Students with a Disability - Alternative academic arrangements
- YouX Student Care - Advocacy, confidential counselling, welfare support and advice
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Policies & Guidelines
This section contains links to relevant assessment-related policies and guidelines - all university policies.
- Academic Credit Arrangements Policy
- Academic Integrity Policy
- Academic Progress by Coursework Students Policy
- Assessment for Coursework Programs Policy
- Copyright Compliance Policy
- Coursework Academic Programs Policy
- Elder Conservatorium of Music Noise Management Plan
- Intellectual Property Policy
- IT Acceptable Use and Security Policy
- Modified Arrangements for Coursework Assessment Policy
- Reasonable Adjustments to Learning, Teaching & Assessment for Students with a Disability Policy
- Student Experience of Learning and Teaching Policy
- Student Grievance Resolution Process
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Fraud Awareness
Students are reminded that in order to maintain the academic integrity of all programs and courses, the university has a zero-tolerance approach to students offering money or significant value goods or services to any staff member who is involved in their teaching or assessment. Students offering lecturers or tutors or professional staff anything more than a small token of appreciation is totally unacceptable, in any circumstances. Staff members are obliged to report all such incidents to their supervisor/manager, who will refer them for action under the university's student’s disciplinary procedures.
The University of Adelaide is committed to regular reviews of the courses and programs it offers to students. The University of Adelaide therefore reserves the right to discontinue or vary programs and courses without notice. Please read the important information contained in the disclaimer.
