MELBOURNE CONSERVATORIUM OF MUSIC

THE RESEARCH PROCESS

FOR MUSICIANS
(MUSI40064)

SUBJECT GUIDE

Semester 2, 2019

Lecturer and Subject Coordinator

A/Prof Melanie Plesch, PhD
Tutor
David Tieri, BMus (Hons), MMus

FOR USE ONLY BY STUDENTS OF THE UNIVERSITY OF MELBOURNE ENROLLED IN

THE RESEARCH PROCESS FOR MUSICIANS
Date made: July 2019

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TABLE OF CONTENTS

TABLE OF CONTENTS ................................................................................................................................................. III

1. COURSE DESCRIPTION ............................................................................................................................................ 1

1.1. Why this subject? ........................................................................................................................................... 1

1.2. How this subject is structured ........................................................................................................................ 1

1.3. What you will do ............................................................................................................................................ 1

1.4. Assessment summary ..................................................................................................................................... 2

1.5. Calendar of submissions and grade breakdown ............................................................................................ 2

1.6. Objectives, or why we are here ...................................................................................................................... 3

1.7. Time commitment .......................................................................................................................................... 3

1.8. About us ......................................................................................................................................................... 4

Lecturer and subject coordinator ..................................................................................................................... 4

Tutor ................................................................................................................................................................. 4

1.9. LMS website ................................................................................................................................................... 5

1.10. Facebook group ............................................................................................................................................ 5

1.11. Class timetable ............................................................................................................................................. 6

2. COURSE OUTLINE ................................................................................................................................................... 7

3. ASSESSMENT ........................................................................................................................................................ 10

3.1. About the project ......................................................................................................................................... 10

3.2. Assignments ................................................................................................................................................. 10

Assignment 1: Topic proposal and annotated bibliography ........................................................................... 10

Assignment 2: Literature review .................................................................................................................... 14

Assignment 3: Theory and methods ............................................................................................................... 15

Class presentation .......................................................................................................................................... 15

Final Project .................................................................................................................................................... 16

3.3. Attendance and class participation .............................................................................................................. 17

3.4. Submitting your assignments ....................................................................................................................... 18

Keeping digital receipts .................................................................................................................................. 18

Extensions ....................................................................................................................................................... 18

Late submissions............................................................................................................................................. 19

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 Special consideration ...................................................................................................................................... 19

Plagiarism and collusion .................................................................................................................................. 19

Turnitin originality report ................................................................................................................................ 20

4. READING AND RESOURCES ................................................................................................................................... 20

Further reading .................................................................................................................................................... 21

5. ACADEMIC SKILLS UNIT ......................................................................................................................................... 21

6. DISCLAIMER .......................................................................................................................................................... 22

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1. COURSE DESCRIPTION

1.1. WHY THIS SUBJECT?

Research is an integral part of a musician’s life. We use it to produce informed performances, to

find out about the works we play or sing, to discover new repertoire, to script themed concerts or
recordings, to write informative programme notes, and—last but not least—to prepare persuasive
funding applications.

This subject will help you develop the skills necessary to incorporate research into your
professional practice and communicate it effectively in both oral and written form. Rather than
dealing with the principles of research per se, we will use a “hands-on” approach: you will learn
and apply these principles by developing a project of relevance to you.

The main outcome will be a document (research proposal) that could potentially serve as the
basis of your application for a Masters, PhD or DMA program. If you are convinced that you
do not wish to continue on to graduate study, you can opt to develop a project for a research
essay on a topic of your choice (for more details see Section 3 below).

1.2. HOW THIS SUBJECT IS STRUCTURED

The subject is organised into twenty-four classes: twelve lectures and twelve tutorials. While there
will be some traditional content presentation, we dedicate substantial time to group discussions,
reflection and peer feedback. There are two classes per week: the first one is a plenary lecture
(with the full cohort, comprising both Honours and RHD students), and the second is a small-
group tutorial (with a cap of 20 students). You are expected to attend both. Depending on
enrolment numbers, there may be more than one tutorial class. Once enrolled you are required
to keep to the class time you signed up for.

A key element in this subject is the concept of process (you may have noticed it in the name of
the subject). Research and writing, like playing an instrument, are practices that develop and
improve over time. I have structured assignment submissions to help you understand the efficacy
of this concept: each assignment is in fact a step in the process towards your final submission.
Moreover, each assignment builds on the previous one. If carried out properly, you will find that
your project will almost write itself. For this to work, though, you need to keep the sequence (don’t
skip assignments) and make sure that you acknowledge the feedback you receive in each
submission.

1.3. WHAT YOU WILL DO

Throughout semester you will engage in a research project on a topic of interest to you. The
only limitations are that the topic should be of manageable dimensions, do-able by you at this
point in your studies, and relevant to your career.

You will choose a topic and explore what has been written about it (making notes as you go). This
will be your first assignment: a brief introduction to the topic arguing for its relevance, and
accompanied by an annotated bibliography.

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You will continue reading the texts in your bibliography (and others that you will find during the
process) and then will write a report on what has been said about your topic thus far. This is called
a literature review and will be your second assignment.

Depending on what you aim to find out, answer or demonstrate (your “research question”), you
will choose a way of looking at your materials (whether they be scores, recordings, books, or
newspaper articles). This is called theory and methods and will be your third assignment.

At some point in the second half of semester, you will talk to the class for 10 minutes about your
project (not your topic) and receive feedback from both classmates and the teaching team.

Lastly, you will compile your three assignments into a single document that will be the basis of
your final submission. You will probably have to do some rewriting, move text around, and write
a paragraph or two, but if you completed your previous assignments successfully you should find
this final stage quite straightforward.

1.4. ASSESSMENT SUMMARY

→ Three written assignments submitted throughout semester, equivalent to 2,000 words

(30%);

→ a written research proposal of 3,000 words, due at the end of semester (40%);

→ a 10-minute oral presentation on the project, followed by a 5-minute question and answer
session, to be given in the second half of semester (20%);

→ class participation (10%);

→ hurdles:

o attendance to 80% of classes (lectures and tutorials);

o all assessment components must be attempted.

NOTE: DETAILED INFORMATION ON ASSIGNMENTS AND ASSESSMENT CRITERIA

CAN BE FOUND IN SECTION 3 BELOW.

1.5. CALENDAR OF SUBMISSIONS AND GRADE BREAKDOWN

Assignment 1: Topic proposal (500 words) and Sunday 18th August, 11:59 pm 10%
annotated bibliography (300 words; no less
than 8 items, each annotation at least 30
words). Total length of assignment: 800 words.

Assignment 2: Literature review (800–1000 Sunday 15th September, 11:59 10%

words). pm

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 Assignment 3: Theory and methods (800–1000 Sunday 13th October, 11:59 pm 10%
words).

Class presentation (10 minutes followed by 5- Weeks 8–12 20%

minute questions).

Final project (3000 words). Sunday 10th November, 11:59 pm 40%

Participation. Throughout semester 10%

NOTE: All assessment components must be attempted

to qualify for a pass mark

1.6. OBJECTIVES, OR WHY WE ARE HERE

As mentioned above, research is an indispensable skill for performers and composers. I hope
that by the end of this semester you will have developed a set of skills and incorporated a
methodology that will serve you for life.

On completion of this subject you will be able to:

→ Devise and develop a successful research project within your field;

→ Frame your creative work or performance into research questions and conceptual
frameworks;
→ Engage critically with the relevant scholarly literature;
→ Position your creative work or performance practice within the current state of research;
→ Communicate effectively about your compositional or performing practices within the
conventions of academic language;
→ Reflect critically on your own work or performance;
→ Work constructively yet rigorously with peers.

1.7. TIME COMMITMENT

You need to have about 8 hours available each week, in a regular schedule as follows:

→ 2 hours per week for class contact;

→ 4 hours per week for research, reading and note-taking towards your project;

→ 2 hours per week for writing and preparation of written assignments.

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1.8. ABOUT US

LECTURER AND SUBJECT COORDINATOR

A/Prof Melanie Plesch: mplesch@unimelb.edu.au

Consultation time: Please send an email for an appointment.

Office: Room 410, Music Building (Building 862), St Kilda Road,

Southbank.

I am a former classical guitarist turned musicologist, cultural historian and educator. I have a
passion for research and for teaching. I am convinced that research makes us better performers,
conductors or composers, and I strive to convey this passion to my students. I hold degrees in
music performance, music education and musicology. I have been teaching in higher education
for the past 30 years, in both Argentina and Australia.

My own research is about art music, national identity and politics in Latin America, with a focus
on Argentina. If you are curious about my research, you can find some of my papers in my page
in Academia.edu: https://unimelb.academia.edu/MelaniePlesch

I strongly encourage you to come and talk to me about your project anytime you feel the need;
please note that my consultation hour is usually in high demand, especially close to due dates.
Keeping that in mind, it would be best to book your consultation at least a week in advance.

I am also happy to discuss any other issues you may have with this subject, particularly if you
feel that it is not being useful to you or you don’t see its point.

Please send me an email and we will organise a time to have a chat.

TUTOR

David Tieri, BMus (Hons), MMus: david.tieri@unimelb.edu.au

Consultation time: 3:30–4:30 pm Thursday, Room 515, The Ian

Potter Southbank Centre (Building 880), Sturt Street, Southbank.

David is a pianist as well as a musicologist. He is a PhD candidate

at the MCM, working on the piano music of Arnold Schoenberg
under the supervision of Prof Ian Holtham and A/Prof Melanie
Plesch.

Your tutor will also be marking your work this semester—I read all assignments, but your tutor
does the heavy lifting.

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1.9. LMS WEBSITE

The LMS will play an important role in this subject. Log on regularly.

All assignments are to be submitted via Turnitin in the Submissions area on the LMS. Your
marked assignments will be returned to you in the same area.

On the LMS you will also find:

→ Information on Assessment, including useful Tips, exercises and examples for each
assignment not included in this guide;

→ Lecture recordings (when available; note that not all lecture halls offer this option);

→ Resources. Useful links to resources that will help you along in your project.

If you have trouble accessing the subject LMS site, you must report it immediately.

→ Submit an online help request at https://lms.unimelb.edu.au/support/submit-request

→ Call 8344 0888 for phone support.

1.10. FACEBOOK GROUP

I know you are more likely to check Facebook than the LMS or your university email, so to facilitate
communication among us, I have created a closed Facebook group. This is not meant to replace
or duplicate the LMS: we will use it as a channel for informal interactions. You can post questions
and comments to me or to other members of the class.

To join this group on Facebook, go to:

https://www.facebook.com/groups/rpm2019sem2

and click the “Join group” button.

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1.11. CLASS TIMETABLE

Lecture. Plenary session: all students attend. Tuesday 14:15–15:15

STH-880-709 (Teaching Studio)

Tutorial. You can enroll in either: Thursday 13:15–14:15

STH-880-721 (Teaching Studio)

OR

Thursday 14:15–15:15

STH-880-721 (Teaching Studio)

Note regarding tutorials: once enrolled, you are required to attend the class you signed up for.

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 2. COURSE OUTLINE
Week Lectures and tutorials
Week 1 Lecture 1. Demystifying
“research”.
29 Jul–4 Aug
Why research? Performers and
composers talk about how they
apply research in their careers.
Tutorial 1. Getting started with
your project.
Week 2 Lecture 2. From area of interest
to research topic.
5–11 Aug
Tutorial 2. Standing on the
shoulders of giants (or at least
moderately-tall people).
Week 3 Lecture 3. There’s an app for that.
Note taking and bibliographic
12–18 Aug management tools and
applications. (Guest lecturer: Fred
Kiernan)
Tutorial 3. Getting Assignment 1
ready.
ASSIGNMENT 1 (Topic proposal and annotated bibliography)
Due on Sunday 18th August, 11:59 pm.
Week 4 Lecture 4. Joining in the
conversation: The literature
19–25 Aug review.
Description
In the first part of this lecture we will talk about the
concept of “applied research” and how it can help you in
your career as a performer.
Everybody’s favourite: a round table with performers and
composers discussing how they do it!
In this tutorial, we will present and explain the structure of
assignments. We will discuss possible areas of interest
and finish with a few practical tips on how to get started
on your project.
In this lecture, we will learn the differences between a
general area of interest and a research topic, and how to
find a viable research question. This will help you narrow
down your project to a manageable size.
NOTE that you will need to bring your own device
(laptop computer or tablet) to the tutorials this week.
A hands-on session on how to find what has been said
about your topic, focusing on some key resources for
music research. Useful hints and tips on how to find
relevant material for your project.
In this lecture, we will share with you our favourite apps
for research (including the magic ones that do your
footnotes and bibliography for you!) as well as tips on
how to take notes efficiently so your project “writes itself”.
In this tutorial, we will apply some of the techniques and
strategies presented in the past lectures and tutorials and
help you prepare for the submission of your first
assignment.
Practical advice on how to talk about what has been
written about your topic, including some smart “moves” to
pave the way for your own research.
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Week Lectures and tutorials
Tutorial 4.
1. Focus on project.
2. Footnote fetish.
Week 5 Lecture 5. Stop staring at the
screen. Techniques to prevent
26 Aug–1 Sep writer's block.
Tutorial 5. Generating text.
Converting your notes, highlights
and dot points into prose.
Week 6 Lecture 6. What and How? The
“theory and methods”, what they
2–8 Sep are and why you need them.
(Guest lecturer: David Tieri).
Tutorial 6. Developing your
theory and methods framework.
Week 7 Lecture 7. How to give successful In this lecture, we will discuss FMMs (frequently made
presentations.
9–15 Sep
Tutorial 7. Reviewing the review.
ASSIGNMENT 2 (Literature review)
Due on Sunday 15th September, 11:59 pm.
Week 8 Lecture 8.
16–22 Sep 1. Student presentation and
project discussion.
2. Project workshop.
Description
In this tutorial, we will apply some of the strategies
discussed in Lecture 4 to your own project. You are
encouraged to bring your work for discussion.
In the second module, we will discuss the many uses of
footnotes.
We’ve all been there: you stare at the blank screen and
nothing happens. In this session, I will present a few tried
and tested strategies to become a productive and efficient
writer without pain.
In this tutorial, we will apply some of the strategies
discussed in Lecture 5 to your own project. You are
encouraged to bring your work for discussion.
How do you intend to prove your point? How will you
answer your research question? In this lecture, we will
discuss the role of the “theory and methods” framework in
any project.
In this tutorial, we will apply the ideas presented in
Lecture 6 to real case scenarios. Bring your project so
we can help you to start thinking!
mistakes) and give you practical tips on how to deliver a
winning presentation.
In this tutorial, we will have a final review session on
literature reviews, to help you prepare for your submission
of Assignment 2.
Student presentation (10 minutes followed by a 5-minute
Q&A session). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).
In the second module, we will have an open workshop for
your project. You are encouraged to bring your own work
for discussion.
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Week Lectures and tutorials
Tutorial 8. Student presentations
and project discussion.
Week 9 Lecture 9. More on theory and
methods: Music-specific and
23–29 Sep performance-related theories.
(Guest lecturer: David Tieri)
Tutorial 9. Student presentations
and project discussion.
Non-teaching period: 30 Sep–6 Oct
Week 10 Lecture 10.
7–13 Oct 1. Student presentation and
project discussion.
2. Review session on the Theory
and Methods assignment.
Tutorial 10. Student presentations Student presentations (10 minutes followed by a 5-minute
and project discussion.
Assignment 3 (Theory and methods)
Due on Sunday 13th October, 11:59 pm.
Week 11 Lecture 11.
14–20 Oct 1. Student presentation and
project discussion.
2. Project workshop.
Description
Student presentations (10 minutes followed by a 5-minute
Q&A session each). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).
In this lecture, we will talk about different approaches to
“artistic research”, including practice-led and
performance-led research.
Student presentations (10 minutes followed by a 5-minute
Q&A session each). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).
Student presentation (10 minutes followed by a 5-minute
Q&A session). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).
In the second module, we will analyse some “theory and
methods” sections to help you prepare for your
submission. You are encouraged to bring your work for
discussion.
Q&A session each). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).
Student presentation (10 minutes followed by a 5-minute
Q&A session). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).
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Week Lectures and tutorials Description

In the second module, we will have an open workshop for

your project. You are encouraged to bring your own work
for discussion.

Tutorial 11. Student presentations Student presentations (10 minutes followed by a 5-minute
and project discussion. Q&A session each). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).

Week 12 Lecture 12. Putting it all together: In this lecture, we will discuss how to transform your
compiling and submitting your assignments into your final submission for this subject.
21–27 Oct document.

Tutorial 12. Student presentations Student presentations (10 minutes followed by a 5-minute
and project discussion. Q&A session each). It is important that you attend these
sessions and provide both written and oral feedback to
your peers (not to mention that this counts towards your
participation mark!).

Final project

Due on Sunday 10th November, 11.59 pm.

3. ASSESSMENT

3.1. ABOUT THE PROJECT

You will develop a research proposal that could be used as the basis for a Masters or PhD
application. You will explore the area, find a tentative research question, write a literature review
and propose a methodology for your study. Those who feel they will not go on to graduate study
can opt to complete a proposal for a research essay instead.

3.2. ASSIGNMENTS

ASSIGNMENT 1: TOPIC PROPOSAL AND ANNOTATED BIBLIOGRAPHY

This assignment has two sections (A and B).

Section A. Topic proposal

This assignment will help you get started with your project. You will identify a broad area of interest
to you (e.g. English songs from the Renaissance), a research topic within it (e.g. performance
practice issues in John Dowland’s songs) and propose a tentative research question (e.g.

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according to current views on Renaissance voice production, should we sing Dowland’s songs
with or without vibrato?).

Your topic and your research question should be:

1. Relevant to your career. In my experience, the best projects are those that explore works or
issues that matter to you right now (they also make happier students).

Examples include investigating about works for your instrument by a relatively under-studied
composer (previous examples include Jolivet’s works for flute, Rebecca Clarke’s works for viola,
20th-century chamber works that include the guitar), an in-depth exploration of existing knowledge
on a work you are playing or an operatic role you are singing, examining performance practice
issues related to a specific work or role, or comparing the development of performance practices
over time by analysing historical recordings by famous performers, among other exciting options.

2. Of manageable dimensions. One of the most common problems people encounter when
defining a topic is thinking too broadly or too ambitiously. “Works for violin by women composers”,
“Saving classical music” or “Ornamentation in the Baroque” are examples of topics of
unmanageable size. Think small and focused.

Manageability also involves being mindful of the amount of existing research on your topic. You
may want to be strategic and avoid over-studied topics or composers that would require you to
read a large amount of previous studies just to be up to speed. This will affect your Assignments
2 and 3!

3. Do-able by you now. If your project requires that you undertake studies in medicine before
you can tackle it (e.g. with topics such as “breathing, lung capacity and oxygen uptake” in singing
or wind instruments), then this may not the right project for you. The most successful projects are
those that integrate your current skills and strengths.

Feasibility also involves access to the sources. If the materials required to carry out your project
are in a remote library in Poland that doesn’t even have a website, or if most of the existing
research is written in a language you cannot read, then this may not be a viable project for you at
this stage.

This criterion is related to your Assignment 3 (theory and methods). When devising your research
question, it is useful to think “how am I going to demonstrate this?” Remember that a research
question should be answerable.

4. Significant to others. Besides satisfying your own curiosity, the project should have the
potential to be of benefit to other people. In short, your question should pass the “so what?” test.

Do not let this point scare you, as it may not be as difficult as you may think. A research project
of small, manageable size can still make a significant contribution to knowledge. If it has not been
done before, collating existing information on a work and re-interpreting it from the performance
practice perspective can be a worthwhile task. Haven’t you ever wished that a piece you were
studying came with “operating instructions”?

5. Original. Your project (or research essay) should have an element that will make it unique.
There are many ways this can be achieved. The originality can be in the topic (something that
has not been studied before) or in the approach (asking new questions to an old problem). With

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some topics, even putting together existing studies and offering a critical view of them can in itself
be original.

Section B. Annotated bibliography

An annotated list (in bibliography format) of the sources you have explored thus far. This is the
first step in the process of developing your project and, if carried out properly, will serve as the
basis of your next two assignments (literature review and theory and methods).

Your annotated bibliography will provide an account of the research that has been done on the
key topics concerning your research. It will consist of at least eight items and should include a
variety of sources such as scholarly books, theses, book chapters, journal articles and Grove
entries. The reference should follow the Chicago Manual of Style (note and footnote system). 1

Like any bibliography, the format of presentation will be an alphabetical list. The difference
between a plain bibliography and an annotated one is that each entry will provide a concise
summary of each source and some assessment of its value or relevance. This need not be long,
but it should cover the following:

a) Description: including the author’s research question or the object of study and the
theoretical and/or methodological framework used.

b) An evaluation of the content.

In order to show your note-taking skills, in the annotations you will also provide some research
notes in the form of:

c) An example of paraphrase.

d) An instance of literal quotation.

e) A commentary or note to yourself.

You don’t need to provide these for every item in your bibliography. We want this to be an
authentic exercise, so do this only with the titles that merit it. (You will find that you will have
something to quote, paraphrase or comment on in about 50% of the material you review).

Remember that the titles you are reviewing need not be “the” solution to your problems. It is OK
to say: “The article deals with the problem of XXX from the point of view of ZZZ. While it is a
worthwhile summary of the problem it does not address the topic from the perspective I intend to
take.” Examples of typical entries will be discussed in class.

Format of Assignment

Section A

1. An introduction to the broad area, the topic, and your tentative research question. Typically,
this section will highlight the significance and/or originality of the topic and showcase your
preliminary reading. (Different examples of good introductions will be analysed in class). You may

1 For further details see the Researching Music website on the LMS.

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want to show that you know who has written about this topic already and why you suspect
that there may be a gap in knowledge that you might be able to fill.

You would also highlight the relevance of your tentative research question, why it is important
beyond your own interest, and who would benefit from it.

2. A personal statement arguing how your area of interest is relevant to your career and how
your topic and tentative research question draw on your strengths and existing skills. An exercise
to help you write this section will be done in class.

Section B.

An annotated bibliography, as detailed above.

Word limit

800 words.

Please take note of the following:

→ the minimum length of the whole assignment is 800 words;

→ the topic proposal should not exceed 500 words;

→ the annotated bibliography should be at least 300 words (there is no upper limit) and
contain no less than 8 items, with each annotation being at least 30 words;

→ footnotes and bibliographic information are not included in the word count, only your
original work.

Assessment criteria:

You will be assessed in terms of how well your proposal:

→ Is adequately focused, showing that you understand the difference between area of
interest, topic and research question;

→ Is feasible given your current skills and abilities;

→ Is manageable in terms of scope and access to both sources and the existing literature;

→ Successfully argues for the relevance of your topic and research question;

→ Shows evidence of sufficient preliminary research in a variety of academic sources

including books, dissertations, articles, book chapters, and encyclopaedia entries;

→ Evidences efficient note-taking skills;

→ Shows an adequate command of the reference style (Chicago Manual of Style, note-
footnote system).

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ASSIGNMENT 2: LITERATURE REVIEW

In this assignment, you will provide a detailed account of what has been said so far about your
topic. The purpose of this exercise is to show that you are aware of current ideas in the field, and
therefore that you are not planning on reinventing the wheel in your project!

This assignment should NOT be a summary of the content of the existing literature; rather, you
will report—from an objective stance—on the nature and characteristics of the literature itself,
highlighting strengths and criticising weaknesses (if applicable). For instance, if you are writing
about the works of a certain composer you will not put together a biography based on your
readings; rather, you will discuss how different authors view the composer and his works. The
topic of this assignment is not “your topic” but who said what about it.

Style and presentation

A literature review is a piece of academic prose. Unlike annotated bibliographies, which are
presented in alphabetical order, literature reviews are typically organised by concepts or
problems.

As you read, you will notice that texts tend to cluster around certain ideas. For instance, you may
find that information on a certain work appears in biographical studies of the composer, analytical
studies of the work’s technical aspects, feminist interpretations of its content, studies on
performance-practice issues of the period, and so on and so forth.

You will rearrange your readings conceptually, grouping them by such common elements. It is
important that you connect these concepts to your research question/s and make explicit the
relevance of these sources to your own research. Remember that you are not providing an
abstract appraisal of these sources but evaluating them in terms of their usefulness to your
project.

Your literature review will be footnoted and will include a bibliography of all works cited.

Word limit

800–1000 words.

Assessment criteria

You will be assessed in terms of how well your assignment shows evidence of your:

→ Capacity to conduct research at professional level, finding and selecting relevant literature
that presents adequate breadth and scope;

→ Ability to organise your reading conceptually, rearranging your sources according to

problems and presenting them in a clear and succinct argument;

→ Capacity to synthesise existing research and to connect it to your own project;

→ Adequate command in the use of the required reference style (Chicago Manual of Style,
Notes and Bibliography system);

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 → Proficiency in the mechanics of academic writing: tone, spelling, punctuation, sentence
structure, word usage, etc.

ASSIGNMENT 3: THEORY AND METHODS

This assignment is the last step in the process that began with your annotated bibliography and
literature review. Drawing on this previous work, you will now describe the approach you will take
in your project. This could be the position advocated by one author (or group of authors), a
combination of ideas taken from different authors, or even a completely new one devised by you.

This framework should include the definition of terms implied in your approach and a description
of the methodology you will use to address your research question: the procedures you will
follow in order to answer it, how and where you are going to find your data, how you are going
to collect it, and to what type of analysis you are going to subject it.

Word limit

800–1000 words.

Assessment criteria

Your assignment will be assessed in terms of how well it:

→ Provides a theoretical framework pertinent to your study;

→ Clearly identifies and defines theoretical terms key to your project;

→ Presents a methodology appropriate to address your research question, including

identification of the sources of data, data collection and analysis;

→ Shows an adequate command in the use of the required reference style (Chicago Manual
of Style, Notes and Bibliography system);

→ Evidences proficiency in the mechanics of academic writing: tone, spelling, punctuation,

sentence structure, word usage, etc.

CLASS PRESENTATION

A 10-minute presentation, followed by 5-minute discussion, to be delivered from week 8.

You will present on the current state of your project to the class. This presentation will be
delivered in academic format. You are expected to make use of visuals (for example PowerPoint
or Prezi slideshows) and are required to provide a handout for all attendees.

Please note that this presentation is NOT a lecture on your topic; rather, your focus should be on
your research project (your question, your sources, your methods, what problems you have
encountered so far, etc.).

A lecture on academic presentations will take place in the first half of semester. There are also
presentation resources on the LMS.

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Dates to deliver presentations will be randomly allocated by the LMS system; you will receive a
notification of your date well in advance. Make sure that you put this date in your diary and treat
it as an exam date.

Personalised feedback on your presentation, summarising the comments of the lecturer, tutor
and your peers will be sent to your university email address.

Assessment criteria

Your presentation will be assessed in terms of how well it evidences the following:

→ Clarity of project (neither too broad nor too narrow; topic can be researched and question
is answerable);

→ Appropriate research (presenter seems to have done adequate preliminary research);

→ Ability to communicate ideas clearly (presentation is organised and speech is clear);

→ Time management skills (does not go over or under time);

→ Quality and effectiveness of visuals;

→ Quality and effectiveness of handout;

→ Overall effort and preparation.

FINAL PROJECT

This assignment is the last step in your “research process”. The document will be:

→ A clean copy adequately formatted (including headings, subheadings, captions, etc);

→ Presented as one continuous piece of writing (not five or six different ones) with its pages
properly numbered.

Your three assignments will be the basis for this document. You will have to do some new writing
and a bit of rewriting, especially acknowledging the feedback received on previous assignments,
as well as the comments received after your presentation, if relevant.

Your project will have the following sections:

Introduction. This will be the first part of your Assignment 1 (minus the personal statement and
the annotated bibliography). You may need to rewrite this section significantly since your ideas
may have developed in a different direction from what you expected (it’s a process, remember).

Relevance. Material for this section may also be repurposed from your Assignment 1.

Literature review. This is your Assignment 2, adequately modified to address the feedback you
received. Make sure that this section has an introduction linking it with the previous one. Do not
jump straight into talking about individual books!

Theory and methods. This is your Assignment 3, adequately modified to address the feedback
you received.

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Timeline. This will require some reflection and planning. Try to use a table format that is visually
clear and gives a clear idea of your proposed timeline at a glimpse. Tip: plan backwards, starting
with your submission date!

Bibliography: This will be a bibliographic list of all works cited.

Word limit

3000 words.

Assessment criteria

You will be assessed in terms of how well your final document:

→ Presents an adequate research question;

→ Successfully argues for the relevance of the project;

→ Offers a thorough and critical review of existing knowledge of the topic;

→ Constructs a relevant theoretical framework for the project;

→ Proposes an adequate methodology to address the research question;

→ Proposes a reasonable timeline for the completion of the project;

→ Evidences the capacity to address feedback;

→ Shows adequate command of the required reference style;

→ Evidences proficiency in the mechanics of academic writing: tone, spelling, punctuation,

sentence structure, word usage, etc;

→ Shows evidence of adequate revision, editing and proofreading.

3.3. ATTENDANCE AND CLASS PARTICIPATION

Past students have rated class discussions as one of the most valuable aspects of this subject. I
strongly encourage you to attend and participate actively in all lectures and tutorials.

To help you engage with this aspect of the class, there is an attendance hurdle. You are expected
to attend 100% of both lectures and tutorials; please note that less than 80% attendance will
result in a Fail.

Attendance at lectures is monitored through the completion of in-lecture quizzes, which will
become live during each lecture and remain available until 11.59 pm on the Sunday after that
week’s lecture. Attendance at tutorials is monitored through a roll, which is to be signed each
week.

Class participation contributes 10% towards your final grade. Note that participation refers to your
active, positive and voluntary involvement in activities, exercises, and discussions, not mere
presence in the room.

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3.4. SUBMITTING YOUR ASSIGNMENTS

All assignments are to be submitted via Turnitin in the Submissions area on the LMS. If you
have not used Turnitin before, this animated guide will show you how to do it:

https://content.lecture.unimelb.edu.au/ess/echo/presentation/08702026-e77c-40fe-8197-
1a6563f0bc4f

Your marked project or essay and your feedback will be available via the same link.

If you have not accessed feedback on an assignment via Turnitin before, you may want to watch
this animated guide:

https://content.lecture.unimelb.edu.au/ess/echo/presentation/47ea8d90-676f-47dc-be0a-
9c20121568b4

KEEPING DIGITAL RECEIPTS

Upon successful submission, a digital receipt number is generated and displayed on screen.
Please make a note of this number. If you cannot see a receipt number, this means you have
not successfully uploaded your file. You should also receive an email confirmation of your
submission.

To avoid disputes over submissions it is recommended that you keep the digital receipt number
and the email until semester is over and final results are known.

EXTENSIONS

Students may be granted extensions of up to two weeks (10 working days) to accommodate
unforeseen circumstances, where the student’s capacity to complete required work by the due
date has been affected by significant factors beyond their control. Under Statute 12.4,
applications for extensions will generally be considered only on medical or other serious grounds.
Applications made on the grounds of workload, external commitments, crashed computers, etc.
will not be approved.

Applications for extensions should be submitted online at least three working days before the due
date of the assignment via the following link:
http://www.formstack.com/forms/?1546441-0yZAmA7MKU

Students who experience the onset of adverse circumstances less than three days prior to the
due date of the assignment should submit an application as soon as possible, and prior to the
submission date.

Students are expected to provide evidence of their circumstances and explain the impact of the
circumstances on their ability to complete the assessment task. A doctor’s certificate or other
supporting documentation must be included with your application form.

Submission of an application does not mean automatic approval of the requested extension. Until
you have been advised of the outcome, you should assume that your application has not been
successful. If your application for an extension is successful, submit your assignment by the new
submission date.

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Students requesting extensions longer than two weeks should apply for special consideration
instead. Applications for extensions after the due date of an assignment should be submitted via
special consideration (see below).

Applications must be made within four working days of the submission deadline or performance
date of the assessment task.

Students granted an extension who experience continued circumstances that prevent them
submitting assessment by the revised due date must submit a special consideration application.

The relevant university policy can be found here: https://policy.unimelb.edu.au/MPF1326

LATE SUBMISSIONS

According to the Faculty policy, assignments submitted without an extension after the due date
will be marked as follows:

→ a penalty of 5% of the maximum mark for each day the work is late (where work is less
than a week overdue);

→ a maximum mark of 50% (where work is more than a week overdue).

Assignments submitted more than two weeks after the deadline will not be marked.

SPECIAL CONSIDERATION

If you experience extraordinary or unusual circumstances that have significantly and

adversely impacted preparation of and performance in assessments and have affected your
ability to meet your academic requirements, you can apply for special consideration:
https://students.unimelb.edu.au/admin/special-consideration

There are two types available, and it’s important to understand which is right for you.

→ You can apply for special consideration due to unexpected circumstances if the
circumstance you’re experiencing and their expected duration of impact on your studies
will be less than six weeks:
https://students.unimelb.edu.au/admin/special-consideration/unexpected-circumstances

→ You can register for ongoing support if your circumstances and their expected duration
of impact on your studies will be six weeks or more:
https://students.unimelb.edu.au/admin/special-consideration/ongoing-support

PLAGIARISM AND COLLUSION

Plagiarism and/or collusion may take several forms. Any of the following, without full
acknowledgment of the debt to the original source, counts as plagiarism:

→ Direct duplication, by copying (or allowing to be copied) another’s work, whether from a
book, article, Web site, another student’s assignment, etc;

→ Paraphrasing of another’s work closely, with minor changes but with the essential
meaning, form and/or progression of ideas maintained;

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 → Piecing together sections of the work of others into a new whole;

→ Submitting one’s own work which has already been submitted for assessment purposes
in another subject;

→ Producing assignments in conjunction with other people (e.g. another student, a private
tutor) which should be your own independent work; all written work in this subject must be
your own independent work.

Penalties for committing plagiarism and/or collusion are severe. According to University policy,
subject coordinators are required to refer all suspect plagiarism cases to the Head of School. All
verified plagiarism cases are registered in the student record.

You are strongly encouraged to review the University’s resources on Academic integrity:

http://academicintegrity.unimelb.edu.au and to complete the Academic integrity module (you

need to sign in to the LMS and enrol in the module to access it):

https://app.lms.unimelb.edu.au/webapps/blackboard/execute/launcher?type=Course&id=_3469
23_1&url

The relevant University policy can be found here: http://policy.unimelb.edu.au/MPF1310

TURNITIN ORIGINALITY REPORT

To help you avoid instances of plagiarism, you will be able to view the originality report
generated by Turnitin on your submission.

NOTE: It is important to understand how originality reports work. For instance, a high similarity
number does not necessarily equal plagiarism. Read this guide to learn how to read originality
reports and to use them to your advantage:
http://www.lms.unimelb.edu.au/user_guides/turnitin_feedback_student_guide.pdf

4. READING AND RESOURCES

As a consideration to our environment and to keep your expenses down, I have made the basic
reading for this subject available online.

You do not need to read these texts in advance, as they are not intended as material for class
discussion. Rather, they are meant to support you as you move through the research process.
This material should be your first port of call if you need help with your assignments.

Please note that there are copyright regulations limiting the amount of material from the same
source that I can make available to you, regardless of whether it is online or as a photocopy. For
this reason, you will need to consult some of the resources in print; these are on Reserve at the
Louise Hanson Dyer Music Library.

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FURTHER READING

This is a list, in simple alphabetical order, of books that I have found useful both for myself and
my students. They are on Reserve at the LHD Music Library.

Beard, David. Musicology: The Key Concepts. Routledge Key Guides. London; New York:
Routledge, 2016.
Bent, Ian D. and Anthony Pople. “Analysis.” Grove Music Online. Oxford Music Online. Oxford
University Press,
http://www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/
41862.
Berger, Arthur Asa. The Academic Writer's Toolkit. Walnut Creek, CA: Left Coast Press, 2008.
Booth, Wayne C. The Craft of Research. 4th ed. Chicago: University of Chicago Press, 2016.
D’Alleva, Anne. “Thinking about Theory”, in Methods and Theories of Art History. London:
Laurence King, 2012.
Elbow, Peter. Writing with Power: Techniques for Mastering the Writing Process. 2nd ed. New
York: Oxford University Press, 1998.
Goodson, Patricia. Becoming an Academic Writer: 50 Exercises for Paced, Productive, and
Powerful Writing. Los Angeles: SAGE, 2013.
Graff, Gerald. “They Say/I Say”: The Moves that Matter in Academic Writing. 2nd ed. New York:
W.W. Norton, 2012.
Herbert, Trevor. Music in Words: A Guide to Researching and Writing about Music. New York:
Oxford University Press, 2009.
Holoman, D. Kern. “Musical Examples”, in Writing about Music: A Style Sheet from the Editors
of 19th-Century Music. Berkeley: University of California Press, 1988.
Lamott, Anne. Bird by Bird: Some Instructions on Writing and Life. 1st ed. New York: Anchor
Books, 1995.
Mack, Karin. Overcoming Writing Blocks. 1st ed. Los Angeles: J. P. Tarcher, 1979.
Puckett, Jason. Zotero: A Guide for Librarians, Researchers, and Educators. Chicago:
Association of College and Research Libraries, 2011.
Single, Peg Boyle. Demystifying Dissertation Writing: A Streamlined Process from Choice of
Topic to Final Text. Sterling, Va: Stylus, 2010.

On the LMS you will also find online resources and tools to help you with your project.

5. ACADEMIC SKILLS UNIT

The Academic Skills Unit provides tuition in academic literacy skills, tertiary essay writing, time
and task management, oral presentations, exam preparation, English language development for
ESL students, and communication skills. The Unit is located on the Ground floor, Citrie Building,
723 Swanston Street.

The Unit has programmes that maximise students’ chances of academic success through
development of the skills required for critical thinking, reading, writing and speaking at University.

General Enquires contact: http://services.unimelb.edu.au/academicskills/contact_us.

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6. DISCLAIMER

Teaching and learning is a dynamic process. This means things change as I get to know you and
try to address the individual needs of each group of students.

Please note that the information in this guide is accurate as at 24th July, 2019. For up-to-date
information, you should always check the subject website on the LMS.

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