Course Title: Performance Master Class 3

Part A: Course Overview

Course Title: Performance Master Class 3

Credit Points: 12


Course Code

Campus

Career

School

Learning Mode

Teaching Period(s)

PERF1014

City Campus

Undergraduate

345H Media and Communication

Face-to-Face

Sem 1 2009,
Sem 1 2010,
Sem 1 2011,
Sem 1 2012,
Sem 1 2013,
Sem 1 2014,
Sem 2 2007,
Sem 2 2008,
Sem 2 2011,
Sem 2 2012,
Sem 2 2013

PERF1014

City Campus

Undergraduate

360H Education

Face-to-Face

Sem 1 2006,
Sem 2 2006

Course Coordinator: Dr Ian Rogers

Course Coordinator Phone: +61 3 9925 0823

Course Coordinator Email:ian.rogers@rmit.edu.au

Course Coordinator Location: Building 36.4.19

Course Coordinator Availability: Dr Ian Rogers will be available for consultations by arrangement on Wednesdays 9.30am - 11.00am


Pre-requisite Courses and Assumed Knowledge and Capabilities

You will have completed the requirements and demonstrated the capabilities of Performance Master Classes 1 and  2.


Course Description

This course aims to provide you with an opportunity to develop an understanding and appreciation of:

• Performance as a career, project and craft
• Performance program development
• Performance in a range of locations and for different occasions

after completion of Perf 1012.

Specific emphasis will be placed on the development of current performance practices. The course is essentially performance-based. It is one of the non-core courses available in the BA (Music Industry) program.


Objectives/Learning Outcomes/Capability Development

At the conclusion of the course, you will be able to:

• employ a body of theoretical knowledge and skills to respond to the multi-skilled and changing nature of music industry practices

• communicate using diverse formats and strategies to audiences within and external to your discipline

• work with others in a range of roles and contexts, demonstrating cultural, environmental and social awareness and ethical and reflective practice


At the conclusion of the course, students you will be able to:


• Develop appropriate preparation strategies for live performance in Australia
• Relate individual and group preparation to a performance situation
• Have a clear understanding of performance situations and careers
• Assess a performance against a set of established criteria
• Have an understanding of grant funding and industry within music performance in Australia

Overall it is the intention to encourage you to develop performance skills and practice into a realistic management project.


Overview of Learning Activities

Weekly campus-based workshops will be held. These workshops aim to expose students to new, alternative and established modes of contemporary music performance and provide a theoretical framework by which performance can be progressed and analysed. The subsequent performances held in the Kaleide Theatre and Building 6 are designed to provide a supportive, scholarly environment in which students can experiment, practice, develop and exhibit their performance skills. Readings will consist primarily of articles and entries from electronic sources


Overview of Learning Resources

Prescribed References:

None

Recommended References:

Byrne, David, 2012. How Music Works. Edition. McSweeney’s.

Hugill, Andrew, 2012. The Digital Musician. 2nd Edition. Routledge.

Rogers, Ian, 2008. ‘You’ve Got To Go To Gigs To Get Gigs’: Indie Musicians, Eclecticism and The
Brisbane Scene in Continuum: Journal of Media & Cultural Studies, 22 (5): 639-649

Gordon, Kim, 1983. “I’m Really Scared When I Kill In My Dreams” in Artforum, January, 1983. [ONLINE]
Available at: http://www.fodderstompf.com/ARCHIVES/REVIEWS/gordonritz.html. [Accessed 10 July
2013].

Gordon, Stewart, 2006. Chapter Two: Why We Perform (Forging a Performance Philosophy)
in Mastering The Art of Performance, Oxford University Press, Oxford, pp. 25-32

Small, Christopher, 1998. Musicking: The Meanings of Performing and Listening. 1st ed. Hanover and London: University Press of New England.

Walker, Clinton, 2012. History is Made at Night: Live Music in Australia in Platform Papers: Quarterly Essays on the Performing Arts 32 (July): 2-61.


Overview of Assessment

The assessment for Performance Master Class 1 is designed to provide you with a range of activities to demonstrate how well you meet the course learning outcomes. The assessment involves such skills as preparation, planning, theoretical explanation/positioning in addition to live performance and reflective work.

Forms of Assessment:

1.
Creative Portfolio
60%
Due Fortnightly from Monday (Midnight) of Week 3.

2.
Solo Performance
20%
Due TBA

3.
Group Performance
20%
Due TBA