成人大片

1. Extend their artistic and technical skills using creative technologies
2. Develop techniques for exploratory and performative research in music making and production
3. Enhance their problem solving skills through the use of technology
4. Develop reflexive research skills and knowledge  that can adapt to the rapidly changing creative and technological landscape, its practices and processes

• USB Stick or portable hard drive with enough capacity to store files associated with the course and formatted as "exFAT" to provide suitable compatability between MacOS and Windows.
• Stereo headphones with a 6.5mm male adaptor. Recommended Type: Closed-Back, Over-the-Ear  Headphones.
• Note – students must bring both their USB storage and Headphones (with adaptor) to university, as they are required for various classes, completing exercises and for using laboratories and studios.

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: 

MyUni is a crucial part of this course and will provide students with access to assessment and learning materials, such as quizzes, discussion boards, slide presentations, readings, links, sound and video. Materials will be provided on a topic-by-topic basis over the semester: .

The course structure and content is delivered through a range of classes and materials. The classes in this course consist of seminars and workshops.

• The seminars in this course use an individual and small group active learning model.
• Students will examine a range of theoretical resources prior to attending each seminar.
• The resources create a topic framework, which students will then actively discuss, debate, research and expand upon within the class using a range of collaborative methods and software tools. 

• Students are required to complete preparatory work which may include readings, watching videos, listening to sound and musical examples, preparing work or completing short exercise. This is a mandatory requirement.
• Workshops will explore a wide range of practical aspects of the course and its associated topics and concepts.
• Students will be set regular practical tasks as part of their portfolio assessment and be required to present their work during the workshop.
• Although workshops will from time to time contain presentations from the instructor, the workshop will largely be an opportunity for students to obtain assistance with their practical and creative development and practice. Students need to actively and on a week-by-week basis maintain their practical and creative development, using the workshop to raise issues and solve problems.
• Finally, the workshops provide a forum by which students can begin to explore their own ideas and practice using lecture and tutorial materials as inspiration and points of departure.

Further, students will be presented with additional theoretical and/or practical materials. The materials expand on the topic and compliment, reinforce and extend the concepts presented.

This course consists of up to 48 hours of direct contact or structured non-contact - 4 hours per week over 12 weeks for the seminars and workshops, where students will play an active role in the practice, refinement, consolidation and extension of their knowledge and understanding. In addition students will spend a minimum of 108 non-contact hours over the duration of the course on self-initiated learning and research, reading, writing, practice and assessment in order to pass the course, making the minimum workload 156 hours.

The structure of the course is broken down into sections. Each section may consist of a number of weeks dedicated to the section topic and more specific sub-topics that may vary according to changes in the field. Each of the topics is supported by theory, discussion and practice through the seminar and workshop.

In order to be relevant, contemporary and up-to-date, this course uses a reflexive ‘just-in-time’ organisation that adjusts its structure and delivery according to the most current changes in the field, lecture-centred research practice and peer-student interest.

Topics include the following (note – each topic may require more than one week of the course):

• Seminar
  • Music 1.0 vs Music 2.0
  • Remixing / Mashups
  • iPod, Sound Bubbles and Schizophonia
  • The Music Genome Project
  • "Plagiarism is necessary. Progress implies it"
  • Algorithms, A&R and Hit Song Science
  • "More Human Than Human" - Cybernetics and the Experience & Practice of Music
  • The Attention Economy of Music - Spotify, Pandora, Napster, iTunes
  • The Turing Test for Creativity - AI, Algorithms and Robots
  • "Dea(th)(f) to the Musician" - Appropriation, New Interfaces & Instruments, Style Stealers
  • "Own Nothing. Have Everything" - Music as Utility
  • The War on Music - Net Neutrality, General Computing and (Demo)cratisation

• Workshop
  • Ableton Live - Live electronic music performance
  • Controllers & considerations of how musical interfaces effect electronic music creation
  • Advanced Performance Techniques
  • Instrument and Process Development

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.

In order for students to complete the course they must gain ongoing and permanent access to EMU. Access and use of EMU is based upon  completing the EMU Access Test.

More information can be found here:

Except where otherwise indicated by the lecturer, tutor or workshop instructor – mobile phones, laptops, PDAs, recording devices and other similar technology must be switched off before lessons or classes begin, and kept off for the duration.

The 成人大片 has committed to a pedagogical approach that incorporates several aspects of scholarship. A key component of the Beacon of Enlightenment strategic pedagogical approach is that all students will experience a "Small-Group Discovery Experience" (or SGDE for short) in at least one course in every year of their degree program.

The Core Concepts upon which the SGDE pedagogical approach is based include goals that students will discover (or rediscover) learning as Intellectual Challenge, and develop a Scholarship of Discovery to inspire them toward learning and lifelong learning.

To accomplish this learning journey, students will develop research skills, and learning and teaching delivery modes used will require students to engage actively with their discipline content. This active learning process will engender a commitment to knowledge for its own sake, and consequently learning to follow an investigation, in a disciplined fashion, wherever it may lead.

You will undertake SDGE to discover the various rapidly evolving relationships that exist in the theory, practice and vocation of music and its links to current technology. This will be approached in two ways:

• Seminar exercises where students complete formative individual exercises that feed into collaborative group research tasks robustly examining contemporary shifts in the understanding, practice, and industry of music. The exercises involve the use of both real-world discussion and engagement with peers, which are simultaneously focused and extended through the use of collaborative software tools including debate, concept mapping, collaborative paper writing tools. This allows both the individual student and the group to discover new understandings and modes within contemporary music.
• Workshop individual and group exercises that challenge existing norms of contemporary music making and production, in particular the use of performative models, probability and sampling.

Due Dates: Specific information regarding due dates is provided on myUni.
Formative Assessment: Classes will contain embedded formative assessment tasks that may include student presentations, discussions, practical exercises, demonstrations and out-of-class work that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.

Due to the current COVID-19 situation, modified arrangements have been made to assessments to facilitate remote learning and teaching. Assessment details provided here reflect recent updates.
1. Research Portfolio and Research Paper assessments remain unchanged.
2. Minor and Major Creative Projects assessment will remain largely unchanged, however students will not be required to perform their works in person.

All students must complete the requirements under “SPECIFIC COURSE REQUIREMENTS ‘EMU Facilities Access Provisions’”. Students who fail to complete these items may be deemed to have failed the course.

Students are expected to attend all classes. If a student fails to attend at least 70% of tutorials or workshops in a course the student may be deemed to have failed that course, irrespective of assessments completed. Students who arrive 10 minutes or later after the start of a class will be marked as absent.

Extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases a student should email their course coordinator regarding the circumstances within 7 days and include the following information:

• Type of Leave: Sick Leave, Compassionate Leave or Professional Development Leave
• Student Name
• Student ID
• Dates of Leave
• Total Number of Days
• Reason for Absence
• Supporting Documentation (e.g. medical certicificate, counsellor note etc)

Students must be available during the identified University teaching, academic and examination periods. Students are not entitled to sit an examination or submit an assessment at another time, nor are they entitled to any other concessions if an examination or assessment conflicts with a planned vacation or special event. Results from assessments and examinations are usually sent to students via email and/or myUni.

Assignments where late submissions are permitted and that are submitted after the due date and time will incur a 2% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 7 days (including weekends and public holidays ). 

• an assignment that is 3 days late: raw score of 80% - 6 marks lateness deduction = 74% final mark.

• typically this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, workshop, practical test, performance or presentation – please refer to the individual assessments for further information.
• for work with a formal extension, these penalties will apply from the extended due date.

There will be a cut-off date for each assignment 7 days (including weekends and public holidays) after the original due date unless otherwise stipulated on MyUni. Work will not be accepted after the cut-off date, and a mark of zero will automatically be awarded for the assignment.