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Course Outlines

MUSTHEAT 1005 - Music Theatre Production 1A

North Terrace Campus - Semester 1 - 2025

Song Repertoire 1A: This class will introduce the student to the dynamic world of music theatre through song analysis, acting the song, repertoire exploration, class exercises for the body and the voice, as well as an initial look at both classic and contemporary music theatre style, with an overall emphasis on performance. Semester 1A will focus on the pre-Golden Age material from 1920 to 1940. Ensemble Singing 1A: A combined singing class for all music theatre students focussing on part singing techniques, creating an ensemble sound, speed and accuracy in learning. The class will focus on music theatre repertoire. Song & Dance Intensive: This class will be an introduction to the working environment of the musical theatre performer. Students will create performances of ensemble numbers that integrate song and dance from mainstream established styles and genres. Acting Intensive 1A: This class will be an introduction to the working environment of the actor. Students will begin with an introduction to script and text analysis and progress to scene work and the development of performance skills. Music Theatre History: This module will examine the history, philosophy, and significance of one of the most important and influential art forms of the 20th century ? music theatre. This module will explore the context of the musical in the theatre throughout history and in the contemporary arts through a study of historical, political and economical events from the birth of the modern musical through to the present day.

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  • General Course Information
    Course Details
    Course Code MUSTHEAT 1005
    Course Music Theatre Production 1A
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 1
    Level Undergraduate
    Location/s North Terrace Campus
    Units 3
    Contact Up to 9 hours per week
    Available for Study Abroad and Exchange N
    Restrictions Available to BMusTheatre students only
    Assessment Song repertoire ensemble and solo final presentation (40%), Music Theatre history quiz and final exam (20%), Song and dance showing (10%), Script analysis essay (20%), Ensemble singing: continuous observations in the classroom (10%)
    Course Staff

    Course Coordinator: Erin James

    Course Contacts

     Course Coordinator

      George Torbay

      E-mail: george.torbay@adelaide.edu.au

      Phone: 0421 245 665

      Location: Schulz Building (Level 11, Room 11.16)

      Availability: M-F, 0900-1700

     

     Course Tutors

      Craig Behenna

      E-mail: craigbehenna@gmail.com

      Phone: 0402 321 076

      Availability: M, W, Class times only

     

    Carla Centofanti

      E-mail: carla.cento@live.com.au

      Phone: 0403 196 942

      Availability: M, 0900-1300

     

      Martin Cheney

      E-mail: martin.cheney@gmail.com

      Phone: 0422 609 357

      Availability: M-F, 0900-1700

     

      Dr. Terry Crawford

      E-mail: terrycrawford61@gmail.com

      Phone: 0434 331 061

      Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300

     

      Deanna Farnell

      E-mail: deannafarnell@gmail.com

      Phone: 0424 044 043

      Availability: W 0900 - 1430, F 0900 - 1700

     

      Rosie Hosking

      E-mail: rosie@roomtwo.com.au

      Phone: 0419 822 890

      Availability: T, 1600 - 1800

     

      Erin James

      E-mail: erinjames@icloud.com

      Phone: 0415 352 304

      Availability: F, 1400-1700

     

       Peter Johns

      E-mail: peter.johns@adelaide.edu.au

      Phone: 0408 286 894

      Availability: M-F, 0900-1700

     

      Zoë Komazec

      E-mail: zoe.komazec@gmail.com

      Phone: 0431 418 421

      Availability: Wednesdays 9am - 11:30am

     

      Dale March

      E-mail: dalesimonmarch@gmail.com

      Phone: 0413 221 546

      Availability: Wednesdays 1pm - 6pm, Thursdays 9am - 1pm

     

      Martine Quigley

      E-mail: m@stylestation.com.au

      Phone: 0437 143 153

      Availability: M & W, 0900-1300

     

      Joseph Simons

      E-mail: j.simons@adelaide.edu.au

      Phone: 0432 498 020

      Availability: M-F, 0900-1700

     

      Paul Sinkinson

      E-mail: paul.sinkinson@yahoo.com.au

      Phone: 0413 011 964

      Availability: Tues 0900 - 1330, Thurs 1330 - 1700, Fri 0900 - 1300

     

      Anna Steen

      E-mail: anna.s.steen@gmail.com

      Phone: 0418 863 587

      Availability: Tuesdays 0900 - 1330, Thursdays 1330 - 1700

     

      Roel Vorrbij

      E-mail: voorbijroel@gmail.com

      Phone: 0450 225 231

      Availability: W, F, 1300-1730

     

      Dr. James Whiting

      E-mail: james_whiting@live.com

      Phone: 0417 764 970

      Availability: W, F, 1300-1730

     

    Course Timetable

    The full timetable of all activities for this course can be accessed from .

  • Learning Outcomes
    Course Learning Outcomes
    1. Develop a repertoire of prepared songs from material of the 1920s and the 1930s for audition & portfolio purposes to a professional standard;
    2. Demonstrate a synthesis of voice, body and mind in a complete musical performance with an authentic sense of individual expression and creativity;
    3. Create sophisticated and layered characterisations that deliver dramatic complexity with ease and simplicity;
    4. Understand the evolution of musical theatre, including knowledge of significant persons, eras, styles, and influences from the birth of the modern musical through the Golden Age to the present day;
    5. Develop a comprehensive understanding of the vocal apparatus in its function and form;
    6. Identify key elements of story, plot and narrative in a both script and performance and marry an understanding of textual analysis with the act of performance.
    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, 3, 4, 5, 6

    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.

    		 2, 3, 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.

    		 3, 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.

    		 1, 2, 3, 4, 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.

    		 1, 2, 3, 4, 5, 6

    Attribute 7: Digital capabilities

    Graduates are well prepared for living, learning and working in a digital society.

    		 5, 6

    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.

    		 1, 2, 3, 5
  • Learning Resources
    Required Resources
    • Alyson McLamore, Musical Theatre: An Appreciation (Routledge, 2016)
    • John Kenrick, Musical Theatre: A History (Bloomsbury, 2017)
    • Barone, OR & Tellis, CM, 2016, Your voice is your business: The science and art of communication, 2nd edn, Plural
      Publishing Inc, San Diego, California.
    • Gates, Rachael, Forrest, L.Arick and Obert, Kerrie. The Owner’s Manual to the Voice – A Guide for Singers and
      Other Professional Voice Users. Oxford University Press, 2013
    • Thomas, J. Script Analysis for Actors, Directors, and Designers. Focal Press. 2014. pp
      xxxi-xli. “Reading Plays”
    • Knowles, R. How Theatre Means. Palgrave. 2014. pp 174-186 “Representation and
      Recognition” and “The world of the play.”
    • Knopf, R. Script Analysis for Theatre. Bloomsbury Methuen Drama. 2017. 15-16 (The
      World of the Play)
    • Knopf, R. Script Analysis for Theatre. Bloomsbury Methuen Drama. 2017. pp 149-154
      (Action Verbs)
    • Knopf, R. Script Analysis for Theatre. Bloomsbury Methuen Drama. 2017. pp 145-148
      (Blueprint)
    • Joe Deer and Rocco Dal Vera, Acting in Musical Theatre: A Comprehensive Course
      2nd Edition (Routledge, 2015)
    • Paul Harvard, Acting Through Song: Techniques and Exercises for Musical Theatre
      Actors (Nick Hern Bookes, 2014)
    Recommended Resources
    1. Rodenburg, Patsy. The Actor Speaks. New York: St. Martin’s Griffin, 2002.
    2. Taylor, Millie and Symonds, Dominic. Studying Musical Theatre, Theory and Practice. London: Palgrave, 2014.
    3. Kenrick, John. Musical Theatre, A History. London: Bloomsbury Academic, 2010.
    4. Green, Stanley. Revised and updated Ginell, Cary. Broadway Musicals, Show-by-Show: Eighth Edition. Minnesota:
    Applause Theatre & Cinema Books, 2014.
    5. McCoy, Scott. Your Voice: An Inside View 3 – Voice Science & Pedagogy. Scott McCoy & Inside View Press, 2019
    6. Steinhauer, Kimberley, Klimek, Mary McDonald & Estill, Jo. The Estill Voice Model – Theory & Translation. Estill
    Voice International, 2017
    7. Chapman, Janice. L Singing and Teaching Singing – A Holistic Approach to Classical Voice Third Edition. Plural
    Publishing 2017.
    Online Learning

    All tutorials will be delivered in person, but virtual participation is acceptable for all lecture style sessions.

  • Learning & Teaching Activities
    Learning & Teaching Modes
    All music theatre students must undertake the Music Theatre Production course. It is both a skills-based practical course focussed on the three areas of acting technique, voice production and dance skills, coupled with the theoretical study in each of these areas. This includes key areas of MUSIC THEATRE HISTORY, ENSEMBLE SINGING, SCRIPT ANALYSIS, VOCAL ANATOMY and SONG REPERTOIRE. As such, all classes are workshop style where attendance is critical for skills development.
    Workload

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

    Music Theatre History: 1 x 2 hour workshop each week
    Script Analysis: 1 x 2 hour workshop each week
    Vocal Anatomy: 1 x 2 hour workshop each week
    Ensemble Singing: 1 x 1 hour workshop each week
    Song Repertoire: 1 x 2 hour workshop each week

    In addition to the listed contact hours per week, It is anticipated that students would spend 6-8 hours per week in preparing for workshops, preparing assignments and undertaking required readings.
    Learning Activities Summary
    Students are expected to maintain 100% attendance at all classes. See below for penalties.

    Independent Practice
    Students must prepare and practise all repertoire, technical exercises and other material assigned by their lecturers and arrive for each session fully prepared.

    Class Activity
    All classes are practically based skill development. It is essential for growth and development that there is active participation at each session.

    Out of Class Activity
    Individual singing and coaching sessions are in place to assist all students with the delivery of weekly work in Song Repertoire.
    Specific Course Requirements
    Specific dance wear and rehearsal ‘blacks’ will be quired for all classes. Students will be given this information prior to the first class with clear instructions and guidelines.
  • Assessment

    The University's policy on Assessment for Coursework Programs is based on the following four principles:

    1. Assessment must encourage and reinforce learning.
    2. Assessment must enable robust and fair judgements about student performance.
    3. Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
    4. Assessment must maintain academic standards.

    Assessment Summary
    Assessment Task Task Type Due Weighting
    Music Theatre History
    1. Quiz
    2. Final Exam
    Summative


    		 Week 7
    Week 12     		 25%
    Script Analysis
    1. Written analysis of a chosen scene, performance of scene
    2. Viva Voce
    3. Written reflection    		 Summative


    		Week 12 
    Week 12
    Week 12
    Week 12     		25%
    Vocal Anatomy
    1. Quiz
    2. Final Exam
    3. Vocal Journal    		 Summative
    Week 6
    Week 12
    Week 13    		 20%
    Song Repertoire
    1. Weekly Performances
    2. Ensemble Performance
    3. Final Assessment    		 Summative Week 12
    Week 7
    Week 12    		 30%


    Assessment Related Requirements
    Participation:
    Active and positive participation in 100% of workshops is expected.
    Students will need to seek approval from the Head of Music Theatre for any absence. This process is clearly explained in the Music Theatre Handbook in MyUni.
    Assessment Detail
    MUSIC THEATRE HISTORY #1: Quiz
    Weighting: 40%
    Due date: Week 7
    Task description: Students will be given a written quiz. This will be both short answer and extended answer questions.

    This will be a closed book exam.
    MUSIC THEATRE HISTORY #2: Final Exam
    Weighting: 60%
    Due date: Week 12
    Task description: Students will be given a final written exam in Week 12. This will be both short answer and extended answer questions.

    This will be a closed book exam.
    SCRIPT ANALAYSIS #1: Written Analysis & Performance
    Weighting: 70%
    Due date: Week 12
    Task description: Instructions: In pairs, select a scene rich in elements discussed during the Intensive. It can be from any of the plays of the suggested list, or from a play of your own choosing (note this must be decided in class before the end of week 8 – changes after this date must be approved by the lecturer).

    1. Individually write an analysis of this scene using the elements discussed in the course. (1500 words min) This analysis must address the play as a whole, and the chosen scene within it.

    2. Perform this scene, demonstrating the elements of the analysis which you identified. Following the performance, you will be asked to clarify or expand upon elements of your analysis verbally.

    3. You will be required to write a reflection (approx 500 words) of your work during class time following the final performances.

    Submission deadline:
    Written component to be delivered prior to performances commencing in week 10 via MY UNI in PDF format.
    SCRIPT ANALAYSIS #2: Viva Voce & Written Analysis
    Weighting: 20%
    Due date: Week 12
    Task description: Viva Voce after the performance discussing the process and written reflection. 
    SCRIPT ANALAYSIS #3: Class Engagement and Weekly Work
    Weighting: 10%
    Due date: Week 12
    Task description: All weekly task delivery, in class exercises, rigorous participation.
    VOCAL ANATOMY #1: Quiz
    Weighting: 30%
    Due date: Week 6
    Task description: The short quiz will include content covered in Lectures 1-5 (Week 1, 2, 3, 4 & 5) and will comprise of a combination of short answer, multiple choice and true or false questions.
    VOCAL ANATOMY #2: Final Exam
    Weighting: 40&
    Due date: Week 12
    Task description: The final assessment will include content covered in all Lectures (1-10) and will comprise of a combination of the following style questions; short and long answer, multiple choice, true or false, analytical listening and problem-solving exercises.
    VOCAL ANATOMY #3: Vocal Journal
    Weighting: 30%
    Due date: Week 12
    Task description: You will be expected to make a weekly entry into your Vocal Journal. The intention behind this assessment task is to help you build awareness. Your voice is your primary tool of the trade and awareness is essential in developing good vocal habits and ensuring a sustainable and healthy career. Use your Journal to reflect on your voice during the week, reflections may include the following:

    Your vocal health throughout the week. “I noticed my voice was breathy and a little hoarse after ensemble singing.”
    Discuss what may have impacted or influenced your vocal health e.g. mindset, lifestyle, workload, environment, working outside your comfort zone, etc. “Upon reflection, I realised that I was struggling to hear myself in the large group environment and was probably forcing my voice more than normal”.
    Share your strategies as you adapt, change and develop optimal vocal habits e.g. “After ensemble, I decided to find somewhere quiet to eat my lunch on my own and gave myself a vocal nap. I also took it easy for the remainder of the day. I’ve also written a note on the top of my ensemble sheet music reminding me not to compete vocally and be more mindful of my efficiency in the next class”.
    Share feedback you receive from teachers/lecturers throughout the week and your plan of action. “In Song Rep I was told I sounded too ‘singy’ and that I needed a ‘more conversational tone’. In my private practise I drew on my understanding that thyroid tilt adds ‘sweetness’ to the tone and therefore worked on a more vertical thyroid position. Using the “bored voice” prompt, I was able to find a more neutral conversational tone.”
    Observations of your vocal strengths and weaknesses (i.e. things you find hard and things your find easy) and set yourself practise goals. “I notice that I always feel most comfortable in the lower part of my range. I have introduced a daily routine of 3 x 5 min sirening sessions to encourage my vocal folds to lengthen and thin improving access to my upper register. I’ll report next week about my progress.”
    Share your observations as you actively listening to other singers. “I’ve been listening to Shoshana Bean’s recording of “The Flagmaker” and have noticed how she ‘works’ the text by lengthening all the nasal consonants. I’m have been exploring this in my own repertoire and am enjoying the presence and focus it brings to my sound and the words.”
    IMPORTANT INFORMATION:

    A minimum of 10 x weekly entries will be required in your final submitted journal.
    Each weekly journal entry must be 300 – 400 words.
    Please TYPE your journal entries into a Word doc and include a date for each entry.
    PLEASE DON’T LEAVE THIS TASK TO THE LAST MINUTE AND ATTEMPT TO WRITE ALL THE ENTRIES AT THE END OF THE COURSE. It will provide you no value at all! Do yourself a favour and give you and your voice the time and attention it needs and deserves on a weekly basis.
    SONG REPERTOIRE #1: Weekly Performances
    Weighting: 40%
    Due date: Week 12
    Task description: Weekly era-based performances delivered in class for lecturer and peer review.
    SONG REPERTOIRE #2: Ensemble Performance
    Weighting: 20%
    Due date: Week 7
    Task description: You will present a group devised (Duet or Trio) performance of a piece of the group's choosing. All staging and preparation is up to the group. This will presented to the class.
    SONG REPERTOIRE #3: Final Assessment
    Weighting: 40%
    Due date: Week 12
    Task description: You will select TWO songs of your choice. Both must be songs that you have NOT sung in class before. Each song must not exceed 90 seconds. Total performance time on stage must not exceed 4 minutes.

    Both songs must have been composed before 1941. It is acceptable to have songs from pre-1920.


    Submission
    ALL MUSIC THEATRE ASSESSMENTS INCUR A 10% PER DAY PENALTY FOR LATE SUBMISSIONS. Extensions are only granted prior to the assessment due date.

    Late assignment policy:
    Extensions are only 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. Assessed work that is submitted late (after the due date and time) will not be examined for assessment or feedback.
    In the case of illness this will require a medical certificate, and in the case of personal (non-medical) circumstances you will need a letter of support from a University Student Counsellor. For further information please refer to the following website: http://www.adelaide.edu.au/counselling_centre/
    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 .

  • 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.

  • Student Support
  • Policies & Guidelines

    This section contains links to relevant assessment-related policies and guidelines - all university policies.

  • 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鈥檚 disciplinary procedures.

The 成人大片 is committed to regular reviews of the courses and programs it offers to students. The 成人大片 therefore reserves the right to discontinue or vary programs and courses without notice. Please read the important information contained in the disclaimer.
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