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Peter Walls
Peter Walls

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Issue No 45, July 2008
Our lives hum with sound and move with rhythm from the moment we utter our first cry in the world. The ability
to make and enjoy music is a wonderful part of being human, an activity that travels through time and crosses
cultures. Music stirs the emotions as it accompanies many of life’s events, reflecting and creating mood. It soothes
us in times of grief and inspires us as we celebrate national and international events.
Developments in technology influence composition, perfor-
Those who have talent and the “X factor” can still be successful
mance, production and the distribution of music. Electronic
without gaining a degree, however formal study develops skills
technology makes access easy to a huge range of music. In the
and knowledge, giving people a solid foundation from which to
morning we can wake to the sound of our favourite band or
grow their careers and expand into other domains.
concert programme, continue listening through breakfast and
move through the rest of day to a background of music playing
through the headphones of the latest in mobile audio technol-
Passion, talent, discipline and high levels of technical skill
ogy. And then there is the magic of live performance where
characterise successful vocal and instrumental performers. Top
composer, orchestra, conductor and soloists move the audience
New Zealand performers have been enthralling the world at
with the energy of their creative soul and spirit.
home and beyond our shores for decades.
The activity of working creatively and analytically with music
Orchestras, chamber ensembles and operatic companies are
develops the brain’s capacity to be flexible, to think laterally
important employers of classical performers on international,
and to manage complexity. A degree in music equips graduates
national and regional levels. They work as a team with conduc-
with transferable skills, valuable in many areas of employ-
tors to present concert programmes.
ment. Graduates also complete conjoint or double degrees or
combine music with courses in other disciplines such as law,
A major in musical performance is valuable to those wishing to
commerce, psychology and the humanities.
pursue careers as professional performers. Students learn many
skills which are transferable to a wide range of occupational
Composers and performers train for years to reach increasingly
high standards. Professional musicianship is competitive and
only a few reach the stars. It is possible, however, for those
Graduates with majors in performance may become soloists
with talent and drive to achieve rewarding careers in the cre-
or members of a choir or orchestra or play in a band, as do
ative, reflective, and administrative sides of the world of music.
a number of performers of jazz and other specialisations. In
New Zealand, classical musicians work for the New Zealand
L=:G:9DBJH>8<G69J6I:[email protected]
Graduates with degrees in music find employment in diverse
fields. Careers range across all aspects of the music industry,
Symphony Orchestra (NZSO) which employs 90 orchestra
members. Regional orchestras such as the Auckland Philharmonic also employ musicians.
and other industries such as film, theatre, social research, com-
Performers may also work in recording studios, for music labels
munications, arts and culture administration, events manage-
and in the administrative and business sides of music in events
ment, finance and law.
A few graduates achieve international and national recognition,
becoming full time performers and composers. Others have
portfolio careers that combine various professional music roles
with other work.
Topical coverage of career related issues brought to you by Victoria
University Career Development and Employment.
Areas covered include how degrees and courses
relate to employment opportunities, to life/work
planning, graduate destination information and
current issues or material relevant to the
employment scene. Your comments and
suggestions always welcomed.
management, tourism and sales and marketing. Other roles may
Graduates in Musicology or Ethnomusicology may work as
include agents, tour organisers or music journalists.
researchers in related fields such as anthropology, history and
New Zealand trained performers work all over the world and
return with valuable overseas experience.
sociology. Their skills may be useful in policy analysis work in
government and private organisations; in writing as authors and
journalists, reviewers and publishers; in library and archival
work in museums and cultural collections, and in arts-related
Considerable rigour, talent and a burning desire to create music
are required to be a composer. A good ear is also necessary and
the mental ability to contain and work with a lot of complex
information at once. Studies in composition encourage stylistic
freedom, experimentation and the expression of individual
Music therapists are qualified, registered clinicians who use the
special qualities of music to bring about healing and change
through a shared relationship with their clients. To be accepted
for the Master of Music Therapy prospective music therapists
New Zealand composers are producing music that pushes the
must be accomplished performers with life experience and
boundaries and resonates with the country’s growing identity.
qualities of empathy and compassion.
Many are successful internationally and work full time in the
creative arts.
Music therapy is effective in assisting clients with a range of
issues, for example reduction of stress, working through grief,
Composers who have trained at university may work on com-
developing language and communication skills and physi-
mission for live performances given by national and interna-
cal coordination. Through music therapy clients can develop
tional organisations such as choirs, orchestras, music ensembles
their creativity and a sense of individual, cultural and spiritual
and bands. They also produce their own work. Others combine
music composition with performance, teaching music or work
in other fields. Some composers prefer to work in highly collaborative areas such as film where they make their skills available
to realise another’s (a director’s) artistic vision.
Music therapists work in many different settings with people
of all ages, abilities and ethnicities. Clients may be people with
physical, intellectual or neurological disabilities; criminal offenders; the elderly; children and adolescents with wide ranging
Composers are adept in writing and translating the language
special needs (including complex communication difficulties
codes of music by hand and through using computer soft-
and multiple handicaps) and their families; patients in palliative
ware. Their skills in problem solving, logic, lateral thinking
care; or people with eating disorders.
and manipulating sets of complex data are highly transferable.
Composers may work as typesetters in the publishing industry;
they also find work in a wide range of government and private
Many students teach a musical instrument on their way through
sector organisations.
their degree and some continue on to gain a primary or second-
ary teaching qualification that enables them to work in schools.
To become a full-time music teacher in a school graduates need
UÊÕÈVœœ}Þ studies the “what” of Western music. It offers
to have a Diploma of Teaching and a tertiary qualification that
insights into societies, political and economic history, languages
includes music, such as a Bachelor of Music.
and art history, as well as the principles of music editing. Other
topics of study covered by musicology include: form and notation; music theory; the development of musical instruments and
the contributions of great composers and performers viewed in
the context of their times.
UÊ̅˜œ“ÕÈVœœ}Þ is the study of music in culture and the
sound world of ethnic music. As cultures have come into greater
contact over time, indigenous musical styles have influenced
each other, producing new styles. Maori, Pacific Island, Asian
and Western music traditions are producing distinctive styles in
New Zealand.
Most private music teachers or itinerant teachers (part-time
music tutors who work in schools) have a certificate or diploma
from a recognised music examination board, such as the Trinity
Guildhall Examinations Board or the Associated Board of the
Royal Schools of Music.
Music graduates may also teach or tutor full or part-time in
polytechnics or university music and performing arts departments. PhD qualifications are usually required for permanent
positions at tertiary level along with overseas experience.
For music programmes, concerts, festivals, tours, gigs and
Graduates have well developed technical skills and knowledge
other musical events to happen a huge amount of creative
in their major subject area. During their degree studies they
planning and organisation can be required. Work in this area
also develop generic, transferable skills that are sought by
includes activities such as event planning, venue hiring, sched-
employers. When writing a CV and preparing for interviews, it
uling and touring of players/band members, artist selection,
pays new graduates to analyse the course work they did. Spe-
organising auditions, securing sponsors, budgeting, marketing
cific examples are useful as evidence of the skills and knowl-
and advertising.
edge they are offering an employer.
“When I came to work with the NZSO I realised that a music
Performing and Composing
degree is a very marketable commodity. Graduates who are
UÊÊ *ÀiÃi˜Ì>̈œ˜É«iÀvœÀ“>˜ViÊΈÃ
musically literate, have a good working knowledge of the
principles of orchestration, and have a strong sense of music
UÊÊ ,i>`ˆ˜}Ê>˜`ÊÜÀˆÌˆ˜}ʓÕÈVÉÕȘ}ʜ̅iÀÊÃޓLœÊÃÞÃÌi“ÃÊ
and codes
history are in demand, not just with orchestral managements
but within an international network of festivals and artist agen-
UÊÊ 6œV>É“>˜Õ>Ê`iÝÌiÀˆÌÞ
cies.” Peter Walls, Chief Executive, NZSO.
UÊÊ œ˜Vi˜ÌÀ>̈œ˜Ê>˜`ÊvœVÕÃ
Interpersonal and Communication skills
UÊÊ i>`ˆ˜}É«>À̈Vˆ«>̈˜}ʈ˜ÊÓ>Ê>˜`ʏ>À}iÊ}ÀœÕ«Ã
Self-employment and freelancing are frequent part or full time
UÊÊ 1˜`iÀÃÌ>˜`ˆ˜}Ê}ÀœÕ«Ê`ޘ>“ˆVÃ
options for people in the music industry. Band members, solo-
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ists, composers, agents, recording artists and sound technicians
UÊÊ ÌÌ՘i`Ê>˜`ÊÃi˜ÃˆÌˆÛiʏˆÃÌi˜ˆ˜}ÊΈÃ
are among those who work on a freelance basis. Some establish
their own companies. Many music teachers work from home
Research and Analysis
and others have a business relationship with a school or organisation to which they contract their services. Business skills are
UÊÊ `Û>˜Vi`ÊÀiÃi>ÀV…ÊÃÌÀ>Ìi}ˆiÃ]Ê>VViÃȘ}ÊÀiiÛ>˜Ìʈ˜vœÀ“>tion
useful to learn for those who are self-employed.
UÊÊ œ˜Ãˆ`iÀˆ˜}ʅˆÃ̜ÀˆV>Ê«iÀëiV̈ÛiÃ
UÊÊ ,iVœ}˜ˆÃˆ˜}ÊVՏÌÕÀ>Ê`ˆvviÀi˜ViÃÊ>˜`Êȓˆ>ÀˆÌˆiÃ
UÊÊ /…ˆ˜Žˆ˜}ÊVÀˆÌˆV>Þ
Funding support for performers and composers is available
UÊÊ Û>Õ>̈˜}ʈ˜vœÀ“>̈œ˜
through several organisations. High flyers have successfully
UÊÊ ,iVœ}˜ˆÃˆ˜}Ê̅iÊÃV…œœÉ«iÀˆœ`ÉVœ“«œÃiÀʜvÊ>ÊܜÀŽ
applied for funding through organisations such as NZ On Air,
UÊÊ œ“«>Àˆ˜}ʈ˜ÌiÀ«ÀiÌ>̈œ˜Ã
Creative New Zealand and the New Zealand Music Commis-
Problem Solving
sion. These organisations are themselves reliant on funding and
UÊÊ iw˜ˆ˜}Ê«ÀœLi“Ê>Ài>ÃÊ>˜`Ê̅iˆÀÊVœ“«œ˜i˜ÌÃ
occasionally offer opportunities for employment. The Music
UÊÊ />Žˆ˜}ʓՏ̈«iÊ>««Àœ>V…iÃÊ̜ʫÀœLi“Ã
Services Directory published annually by Stellar Night Produc-
UÊÊ ÌÌi˜`ˆ˜}Ê̜Ê`iÌ>ˆÃ
tions references an extensive list of music related businesses,
organisations and performers.
UÊÊ *>˜˜ˆ˜}Ê«Àœ}À>““iÃ
UÊÊ /ˆ“iʓ>˜>}i“i˜Ì
UÊÊ iï˜}Ê`i>`ˆ˜iÃ
Employers value the discipline and rigour that music graduates
education programme manager, principal music librarian and
assistant music librarian.
bring to their work. Organisations look to hire people who are
RadioNZ often recruits people with a tertiary level music
adept communicators, who have a positive attitude and want
qualification or relevant experience, and proven research skills.
to keep learning new skills. The music industry is small in New
Awareness of public broadcasting, its goals and principles, is
Zealand. Whilst areas such as record companies and recording
essential along with a deep interest in repertoire, especially in
studios are shrinking as technology changes the industry, there
New Zealand music, and a hunger to continue learning. Good
are many exciting opportunities for employment.
written and spoken communication skills are vital. Roles of
New Zealand Symphony Orchestra (NZSO) - “Many of
our best performing graduates end up in the NZSO. It is a very
exciting life, and hard work. Members of the orchestra work
with top conductors and soloists and the work is exacting with
specific interest to music graduates are found in the following
departments: RNZ Concert Production; RNZ Concert Scheduling; RNZ Concert Presentation; Contributing; RNZ Studio
minute-to-minute concentration required and a fine level of
SOUNZ is a music information centre whose purpose is to
physical skill. Touring is also demanding, and exciting.” Peter
provide, foster and promote music by New Zealand composers.
Walls, Chief Executive, NZSO. To be a musician in the NZSO
The small team is made up of musicians and composers. The
candidates must have a successful audition and a trial period of
people in their team need to understand how music is deliv-
6-8 weeks.
ered and how professional performers and composers think,
For management positions such as in operations, marketing
perform and interact.
and human resources, NZSO seeks graduates with a good aca-
APRA/AMCO administers the rights of the world’s compos-
demic record, knowledge of and passion for symphonic music,
ers, songwriters and publishers in Australia. The area of music
good communication and teamwork skills, and a reliable, posi-
licensing is growing. Knowledge of music is important in the
tive attitude. To enter the artistic team it is essential to have a
work as well as research and data analysis skills, and an under-
music background. Roles in the artistic team include: artistic
standing of copyright.
planning manager, artistic administrator, artistic assistant,
MIDI Engineering
Radio/TV announcer/programmer
Music Archivist
Recording Engineer
Artistic administrator
Music Critic/Reviewer
Road Manager
Audio/Sound Engineer
Musical Director
Sales Representative/Manager
Background Vocalist
Music Historian
Session Musician
Band member
Music Librarian
Soloist, Vocal/Instrumental
Business Manager (retail, recording,
tour etc)
Music Publisher/Editor/Journalist
Music Sequencer
Sound Designer/Engineer/Technician
Choir Director
Music Therapist
Music Wholesaler/Retailer
Studio Director or Manager
Symphony Orchestra/Group Member
Cruise ship band member
Performing Synthesist
Synthesis Specialist
Film Scorer/Composer
Piano Tuner
Jingle Writer
Producer – theatre, film
Teacher, Secondary/Primary School/
Lecturer, university, conservatory
Program Director (recording, radio, TV)
Luthier/Instrument repairer
Programmer (music software, virtual
sound environments)
Marketing Representative
Public Relations Advisor/Manager
Tour Coordinator/Manager
Simon O’Neill
Ben Lau
œœŽˆ˜}ÊL>VŽÊœ˜Ê“ÞÊV>ÀiiÀÊÊÃÕ«pose I was extremely fortunate to
When I was at High School I
always know what I wanted to do
always knew I wanted to do
with my life. This has always been
something involving music but
music, any type. I take as much
not what I wanted to major in. I
delight accompanying fellow
started my music degree majoring
singers on the piano, playing the
in composition and enjoyed the
tuba in a brass band or playing
class, however, something was
the pipe organ at a church service in New York as I do singing
missing. I decided to audition for
at Covent Garden, the Metropolitan Opera or Adam Concert
performance violin, was accepted and changed my music major
to performance. In my second year I also did some non-music
weekend I was preparing the title role of Verdi’s Otello with
papers, which I really enjoyed. This gave a very different aspect
to my university studies, as performance was very demanding.
The most enjoyable moments of my studies were in per-
My fondest memories of university were meeting the people
formance, my real passion. I commenced study at Victoria
I did my music degree with. We had a lot in common and I
made some very good friends. Music students spend a lot of
Otago. I would not be at the standard of performance I am now
time with each other attending workshops and performing at
if it had not been for my first teachers Emily Mair and Professor
concerts. Another aspect I enjoyed was the opportunity to play
Peter Walls. Their tutelage and mentoring coupled with intense
in numerous concerts. We did some fantastic repertoire and
technical vocal work led me to being accepted, with full merit
performed in some very good venues.
scholarships, into New York’s Manhattan School of Music and
the Juilliard School.
During my studies I learnt a lot about myself, and my music
playing. The best thing was having a violin tutor who taught
The best advice I can give students studying voice and per-
me how to teach the violin, as we mutually agreed that I was
formance is to take every opportunity to get on a stage and
never going to be concert musician. I gradually became very
perform – be that in the chorus, as understudy or in solo roles.
disciplined and learnt good time management skills. I also
There are many roads to a career. A select few have the privi-
learnt how to take criticism, which I found very hard to do
lege of the ‘wunderkind’ route. My route was a long road with
when I first started university.
ups and downs (and some terrifying performances) to become
a professional opera singer.
In my Bachelor of Arts I had started majoring in Chinese and
did some Education papers, as they sounded interesting. The
Professional music can be an extremely difficult and unforgiv-
idea of becoming a teacher became evident when I started
ing career or vocation. You must be ready to accept cutting
teaching violin and music theory and discovered I really
criticism and ensure that you learn from the good as well as the
enjoyed it. I ended up not finishing my Chinese major on
bad. My life as a professional opera singer is endlessly reward-
account of the workload of my music degree, but completed a
ing because I spend all my time doing something I love dearly.
major in Education instead.
It can also be very lonely and in the beginning is financially
Preparation and study are the keys from a technical and a personal view. I prepare each role for many years, coaching with
the best people I can find. After years of study and preparation
I now have the joy of teaching many young artists both in New
Zealand and overseas.
Goran Ristanovich
Corisha Brain
Music, jazz in particular, is a life
double degree in Music and
passion of mine. I have been play-
The three years I spent studying
music because it is a discipline I
for a Bachelor in Jazz Performance
love. By majoring in musicology
were fun, creative and romantic,
I studied a diverse range of topics
some of the most memorable in my life. Studying with like-
such as Medieval and Renaissance
minded students offered great potential for development. It's
music history, twentieth-century music history, conducting, In-
a great environment to learn, practice, create and try out any
donesian Gamelan, Schenkerian analysis, and ethnomusicology.
musical idea with your fellow musicians.
My postgraduate study in music allowed me to focus on areas of
During my studies I learned a great deal about many aspects of
As an undergraduate I did a
musicology that really interested me.
music and gained skills that would enable me to “nail” virtually
I particularly enjoyed the interactive nature of studying music.
any musical situation. Thanks to these skills I have traveled
The music school community allowed me to meet many like-
the world playing as an orchestra drummer and backing a
minded, talented people and I made some great friends. The
large number of acts in a vast range of styles. The latest was a
music school staff were very inspiring and supportive, and
“prime” gig as a guest entertainer with Rumba/Flamenco group
I enjoyed the opportunity of getting to know some of them
Ole Ole.
When I began studying I planned to work on cruise ships once
I had finished and I’ve been on many. It has been lots of fun
and a life-enriching experience. If you spend too much time on
ships, you can lose your direction and fall off people maps. It’s
important to stay focused and use your time wisely to either
practice, compose or learn something new.
but very efficient home studio set up and can record drums for
people anywhere in the world. Musicians e-mail me their basic
tracks to which I record the drums and send back the files. I
relationships I gained the confidence and motivation to begin
my Masters in music. My research was incredibly exciting and
fulfilling given that it was the first of any kind to be undertaken
concerning Mademoiselle Julie Pinel, an eighteenth century
French composer.
Tertiary study enhanced my skills in areas such as research,
analysis, communication, time management, multi tasking, and
computer literacy. My Honours and Masters studies in particular
developed my skills in focused historical research, writing, editing and analysis.
am also completing my debut CD “Rista World”, which I have
I wanted to embark on a career where I could implement and
produced in my studio.
develop skills such as leadership, teamwork, communication,
For those considering a career in music, make sure that music
is your life passion and your mental food. The life of a musician is a constant battle regardless of what level you’re at. We
do it because it gives us incredible satisfaction that money can’t
buy. If you go for it, make sure you go all the way and give it
your best shot! I also highly recommend getting some financial
initiative and creativity. It was important to me that I broaden
my skill set by working in various disciplines and I was excited
to be offered a role within the Ministry for the Environment.
Working within a government department is providing me with
new challenges and experiences by working alongside successful
and motivated peers.
education and having a few other plans to broaden your op-
I’m grateful that I was able to study something I truly enjoyed
and believe that as a result I gained more from my years at university. The skills you gain equip you well for entering the workforce. My studies in music were rewarding and music remains an
important part of my life even though I am not currently working in the musical arena. Further down the track I may consider
training as a secondary school teacher specialising in music.
Alison Cooper
Erin King
I completed a Master of Mu-
sic Therapy degree at the New
it was more like something that I
Zealand School of Music (NZSM)
just had to do. In my first year at
in 2007 and now work for the
Victoria I actually studied archi-
Raukatauri Music Therapy Centre,
tecture, then part way through the
Auckland which caters for school-
year I realised how much I missed
aged children and younger. I chose
the regular involvement in singing I’d had at high school.
this course because in my previous work as a teacher I saw
I wouldn’t say music was a subject
Thankfully my performance audition was successful. While
how motivating music activities were for many children with
studying singing at the School of Music I also discovered the
special needs. I have a Bachelor of Arts in music and teaching
fascinating world of musicology, which I took up as a sec-
qualifications that include psychology papers.
ond major. Here I was attracted to the satisfaction of delving
I enjoyed the mix of theory and practical experiences in the
deeply into the many layers that make up a piece of music. For
music therapy course, which prepared me well for the work
I do. I developed skills in listening and improvisation – the
ability to choose, extemporise, compose and adapt music in
different styles to match and support the client’s actions, vocalisations, playing or mood. My placements were in a mainstream
school, a special school, a paediatric hospital, and a rest home
and hospital for older adults with dementia.
I work part time and spend one day at the Centre and three
days in an outreach programme at a special school. I advise
anyone considering music therapy to meet and observe music
example, why did the composer write this piece of music at this
particular point in time? Was there a specific social or political event for which it was composed, or was it written as an
emotional reaction to circumstances in the composer’s life? How
were we to interpret a system of dots, lines and squiggles written hundreds of years ago?
Initially I was surprised that Treasury was interested in a graduate like me. Now I think I can see why. Studying musicology
taught me to form and criticise complex arguments. In other
words, it taught me how to think. It also taught me how to
communicate these arguments clearly to others – whether I was
therapists in different settings and to seek work or volunteer
writing a thesis, presenting my research at a seminar or confer-
experience with people with disabilities. It is challenging and
ence, or tutoring undergraduate students.
rewarding to build relationships through music with children
who have difficulty in areas such as communication, physical
skills, sensory integration, or social and emotional development. It is even more rewarding to share their usually small,
but sometimes giant steps of progress.
performance studies very useful. Performing music at an advanced level requires great discipline, focus, and perseverance,
attributes that you can take anywhere. As soon as I started my
job I was meeting with senior officials from other government
departments – often in rather tense circumstances. The ability
to appear calm and collected in these environments is another
unexpected spin-off from my performance training. Even
though I’m working full time now, I’m still able to keep up my
love of singing and performing in ensembles like the Tudor
Consort and Number 9.
You can probably imagine how I felt when I was walking to my
first interview at Treasury, where I had to give a short presentation on the impact of high house prices on the economy. What
I’ve realised though, is that it’s not always the content of what
you study that matters, it’s the skills you learn and the personal
experience you gain while studying that are important.
areas, including electronic music, live electronic performance
and intermedia composition.
˜ÊÓääÈ]Ê>ÃÃiÞÊ1˜ˆÛiÀÈÌÞÊ>˜`Ê6ˆV̜Àˆ>Ê1˜ˆÛiÀÈÌÞʜvÊ7iˆ˜}ton combined the strengths of their Conservatorium of Music
and School of Music into a single new School, the New Zealand
School of Music, to offer an outstanding range of opportunities
for advanced music study. Specialist qualifications in Music
jointly by the two universities as NZSM qualifications.
The BMus in Music Studies is for those interested in studying
music in context. The Music Studies major is flexible, allowing students to focus on either Jazz (Performance, Theory and
Composition, History) or Musicology ( the study of Western
‘classical’ art music from a variety of historical, philosophical,
and analytical perspectives), or Ethnomusicology (the study
of music from New Zealand and all around the world as an
expression of its cultural context). If you prefer, in this major
you can explore a wide range of courses without declaring a
The Bachelor of Music (BMus) is a professional degree that
opens the doors to music careers. You may major in Classical
Performance, Jazz Performance, Composition (either Instrumental/Vocal or Sonic Arts), or Music Studies (either Ethnomusicology, Musicology, Jazz Studies, or without specialisation).
Jazz Performance majors devote most of their time to individual instruction and practice. Supporting this are studies in
group performance, such as combo, big band and jazz choir.
Core jazz studies also include improvisation, jazz theory, jazz
history and musicianship. Students have a choice of emphasis
between Jazz Performance, and Jazz Composition. Classical
Performance students can major in voice, piano, organ, harpsichord, guitar, all orchestral instruments, recorder, baroque
violin, harpsichord or fortepiano. Entry to the programme is
by audition. For both Jazz and Classical majors, the study of a
second instrument is possible with the permission of the Director of the NZSM. It is expected that students will have attained
the same standard on their second instrument as is required for
their principal instrument.
The Composition major produces graduates who have a
considerable command of music technology and of compositional technique, as well as a broad historical, theoretical and
analytical knowledge of the discipline. A BMus in Instrumental
and Vocal Composition gives students a thorough grounding
in all aspects of composition, and aims to provide the creative
and critical tools required for a successful career as a composer.
Students studying Sonic Arts join a programme unique in New
Zealand. You will be encouraged to develop your individual
creative voice, and given the opportunity to work in a range of
For students who are academically well prepared it is possible
to take a BMus with a double major (e.g. BMus in Classical
Performance and Music Studies).
Music within a Bachelor of Arts (BA). You can take a BA with
a Music major (either the BA in Music Studies at Victoria
– which can be taken extramurally). You also have the opportunity to include Music courses as electives in a BA majoring in a
subject other than Music. A number of Music courses require
no prior musical knowledge.
Postgraduate study at the NZSM. A full suite of postgraduate programmes in Music is available, ranging from Diplomas
̜Ê̅iÊ*…ʈ˜ÊÕÈV°ÊÊ1˜ˆµÕiʈ˜Ê iÜÊ<i>>˜`ʈÃÊ̅iÊ>ÃÌiÀÊ
of Music Therapy, which trains graduates to become professional music therapists. The two-year programme, developed
in association with the New Zealand Society for Music Therapy,
requires applicants to hold a degree relevant to Music Therapy
and to have undertaken
some study of Psychology or
another approved social science discipline. An audition
and interview are required for
entry to the programme. Successful graduates are eligible
to apply for accreditation as
Registered Music Therapists.
Special thanks to:
/…iÊ iÜÊ<i>>˜`Ê-V…œœÊœvÊÕÈV]ʈ˜Ê«>À̈VՏ>ÀÊÀiiÀÊ>À`i˜]Ê-i˜ˆœÀÊiVÌÕÀiÀʈ˜ÊÕÈVœœ}Þ]Êi«ÕÌÞʈÀiV̜ÀÊ <-ÆÊ
œœ«iÀ]ÊÀˆ˜Êˆ˜}]Êi˜Ê>Õ]Ê-ˆ“œ˜Ê"½ iˆ]ʜÀ>˜Ê,ˆÃÌ>˜œÛˆV…ÆÊ>˜`Ê>Ê̅œÃiÊ«iœ«iÊ܅œÊ
contributed to this publication.
>ÀiiÀÊ6ˆiÜ is published by Career Development and Employment
July 2008
-- Ê££ÇӇ{Σx

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