DCMS://BA_Honours/
Contact: Professor Philip Hayward
Room: W6A 640
Email:philip.hayward@humn.mq.edu.au
Phone: 9850-9245
BA Honours in Contemporary Music Studies is available full-time (two semesters) or part-time (four semesters).
Students can pursue Honours with an emphasis on either theoretical and/or practical aspects of musical practice.
DCMS Honours Programme 2008
The Programme consists two first semester seminar units + work on thesis in consultation with supervisor in second semester.
Semester 1
a. Critical Reading unit:
The aim of this unit is to expose students to a wide variety of critical and cultural theory perspectives and to enable them to consider contextual and cross-disciplinary approaches to music topics.
Convenor/lecturer: Philip Hayward
Duration: 10 weeks (Tuesdays: 6-8pm, W6A 640) + attendance at FMTR day conference (April 18th) http://www.sicri.org/fmtr/
Seminar based course involving critical reading, discussion, writing of course log books + set essay assignments.
This course comprises 30% of overall Honours marks.
b. Research Issues and Practice unit
The aim of this unit is to expose students to the kind of practical, theoretical and/or interpretative issues that researchers encounter and to identify ways of productively engaging with these.
Convenor: Philip Hayward
Lecturers: DCMS staff and guests
Duration: 12 weeks (Wednesdays: 6-8pm W6A 607)
Seminar based course involving discussion, reading, writing of course log books.
This course comprises 30% of overall Honours marks
Semester 2 - Thesis
The thesis comprises 50% of the overall Honours mark.
Guidelines:
Theses should be between 14,000-16,000 words in length.
All theses must have an abstract, acknowledgements, contents page, introduction, literature survey/methodology, individual chapters, conclusion, end notes and bibliography
All theses must be presented in word-processed form (1.5 or double spaced) and be spiral bound – 3 copies must be submitted.
Composite written/creative work thesis should have their written components presented in the above form and should package their creative work in consultation with their supervisor. The proportions of written/creative content for composite theses must be agreed in writing with supervisors prior to commencement.
Students should begin thinking about thesis topics early in Semester 1 and should discuss these with the Honours convenor (Philip Hayward) and prospective supervisors. Topics need to be finalised, written up as a one page A4 proposal, and formally signed off as accepted by a supervisor by May 12 th. Students should commence work on their thesis in first week of June and can arrange formal meetings with their supervisors from that point on.
Thesis handing in date: Monday October 20th
Theses will be examined with address to the following criteria:
1) does the thesis demonstrate an adequate familiarity with and communication of the relevant literature in the field?
2) does the thesis clearly identify its aims and achieve these?
3) does the thesis make an original contribution to the area?
4) is the thesis presented in a competent literary style and with satisfactory referencing?
All theses will be examined by two examiners external to the Department. In the event of a disparity of more than 15% in the marks awarded, a third examiner will be appointed and the two closest marks averaged.
Critical Reading unit outline
26.2.08 Introduction to Honours
Issues in Popular Musicology
Read, Moore, A (2001) Rock The Primary Text, London: Aldershot: 1-32 (‘Introduction’ and Chapter 1 ‘Issues in Theory’)
11.3.08 Popular Music and the Creativity – Guest Seminar: Phillip Mcintyre
Read: Mcintyre, P (2006) ‘Paul McCartney and the creation of ‘ Yesterday’: the systems model in operation’, Popular Music v25 n2: 201-219
18.3.08 Music and Interpretation
Hawkins, S (2002) ‘ Musicological Quagmires in Popular Music: Seeds of
Detailed Conflict’, Popular Musicology Online < http://www.popular-musicology-online.com/issues/01/hawkins.html>
Music and Critical Theory/ Deleuze
Murphie, A (1996) ‘Music at the end of the World as we know it’, Perfect
Beat v2n4 January: 18-42
1.4.08 Screening: J’ai ete au bal (dir: Les Blank, 1989)
8.4.08 Politics & Culture: The Cajun Dimension:
Emoff, R (1998) ‘ Cajun Poetics of Loss & Longing’, Ethnomusicology v42n2: 283-301
+ Stivale, C (2001) ‘Of Hecceites and Ritournelles: Movement and Affect in the Cajun Dance Arena’, Genosko (ed) Deleuze and Guattari, London: Routledge: 281-301
18.4.08 ‘FMTR’ Conference (Saturday - all day)
29.4.08 Contextual/Holistic Analysis
Feld, S (1994) ‘Aesthetics as Iconicity of Style’, and Feld, S (eds) Music Grooves, Chicago: University of Chicago Press: 109-150
6.5.08 Jonas Baes and Activist Ethnomusicology:
Baes, J (2002) ‘That’s Ethnomusicology! Perfect Beat v5n4, January: 21-44
+ Baes, J and Klein, E (2002) ‘Land Rights, Marginalisation and Ethnomusicology in the Philippines’ Perfect Beat v6n1, July: 80-91
+ Baes, J (2007) ‘ Mangyan internal refugees from Miindoro Island and the
spaces of low-intensity conflict in The Philippines’, Shima v1n1: 66-82
http://www.shimajournal.org/previous.html
13.5.08 Student Thesis Topic presentations
Research Issues and Practice unit outline
5.3.08 Data management and analysis / working with Archaiv – Denis Crowdy
12.3.08 The CERF agenda – Philip Hayward
19.3.08 Industry-based research – Guy Morrow
26.3.08 Research into performance – Pauline Manley
2.4.08 Researching performers – Adrian McNeil
9.4.08 Researching digital performers – Sarah Keith
30.4.08 Recording as/and Research – Denis Crowdy
7.5.08 Research and Retro-engineering – Alex Mesker
14.5.08 Research, communities and politics – Adrian McNeil
21.5.08 Theory, case studies and academic fields – Mark Evans
Reading texts will be set and provided by session tutors.