IMus Program Handbook 2017 January (Updated Dec 2016)

PROGRAM
HANDBOOK
January 2017

PROGRAM HANDBOOK CONTENT
1. Introduction.......................................................................................................................................................... 1
2. UCSI University, IMus Vision and Mission ...................................................................................................... 1
3. Institute of Music Organizational Chart and Staff List ................................................................................... 2
3.1 Institute of Music Organizational Chart
3.2 Staff List
4. Program Overview............................................................................................................................................... 5
4.1 Program Objectives and Learning Outcomes
4.2 Admission and Language Requirements
4.3 Program Structure
4.4 Course Selection
4.4.1 Definition of Course Types, Course Codes, Credit Hours and Graduation Requirements
4.4.2 Guide to Course Selection
4.4.3 Course Offering Chart (Y-table)
4.4.4 Course Synopsis
4.5 Institute Policies & Procedures
4.5.1 Attendance Policy
4.5.2 Masterclass
4.5.3 Student Recitals
4.5.4 Large Ensembles
4.5.5 Major and Minor Instrument Study
4.5.6 Extended Studies in Major and Minor Instruments
4.5.7 Major/Minor Instrument Lesson Record Sheet
4.5.8 Jury Examinations and Graduation Recital/Performance Project
4.5.9 Repeat of Graduation Recital/Performance
4.5.10 Program Note Workshop
4.5.11 Use of Handphone and Laptop Computers during Class
4.5.12 Plagiarism Policy
4.5.13 Music Score
4.5.14 Music Listening
4.5.15 Consultation
4.6 Program Quality Assurance and Enhancement
5. University Policies & Procedures ..................................................................................................................... 45
5.1 About Examination System
5.2 Transfer of Programme
6. Institute of Music Facilities ............................................................................................................................... 46
6.1 List of Facilities
6.2 Access
6.2.1 Music Office
6.2.2 Practice Rooms
6.2.3 Recital Hall, Ensemble Room, Lecture Classrooms and Teaching Studios
6.2.4 Borrowing of Instrument or Equipment
6.2.5 Booking Music Facilities
6.2.6 Music Technology Lab
7. Institute of Music Student Services ................................................................................................................. 48
7.1 Institute of Music Student Association
7.2 Buddy System
7.3 Student Welfare Committee
1. Introduction
Over the past two decades the Institute of Music at UCSI University has emerged as the most significant provider of
tertiary level music education in Malaysia. Located at the universitys purpose-built South Wing campus in Cheras,
the Institute of Music currently offers degree and pre-university level (Foundation) programmes in both classical and
contemporary music and serves a community of over 300 music students and a large faculty. In recent years the
Institute of Music has acquired a growing international reputation and is now a preferred destination for many
overseas students and as well as visiting lecturers and performers.
The Institute of Music promotes the study of music in all its manifold diversity and aims to integrate the academic
and practical aspects of music to produce graduates who are skilled practitioners as well as literate, thinking
musicians. This approach is supported by fully comprehensive library resources and facilities and a physical
infrastructure that includes dedicated teaching, performance and recording spaces. It is further supported by the
Institutes exceptional team of lecturers whose areas of specialist expertise include piano performance and
pedagogy, ensemble performance, contemporary music study and performance as well as composition and
musicology.
2. UCSI University, IMus Vision and

Mission
UCSI University
VISION (revised version 2012)
To be an intellectually resilient praxis university renowned for its leadership in academic pursuits and engagement
with the industry and the community.
MISSION (revised version 2012)
To promote transformative education that empowers students from all walks of life to be successful individuals with
integrity, professionalism and a desire to contribute to society
To optimise relationships between industry and academia through the provision of education and unparalleled
workplace exposure via praxis centres
To spearhead innovation in teaching and learning excellence through unique delivery systems
To foster a sustainable culture of research, value innovation and practice, in partnership with industries and society
To operate ethically at the highest standards of efficiency, while instilling values of diversity and inclusiveness, to
sustain the vision for future generations
Institute of Music
VISION
To be the leading music institute in the region
Institute of Music Program Handbook, 2017 Page 1

MISSION
1. To produce leaders and competent practitioners for the music profession

2. To deliver a comprehensive curriculum through a team of dedicated staff of the highest caliber
3. To provide a conducive environment for a holistic and artistic growth for both staff and students
4. To be a leader in music education and musical culture in the region
5. To foster global exchange of musical knowledge and scholarship through international collaborations
3. Institute of Music Organizational Chart

and Staff List
3.1 Institute of Music Organizational Chart
Institute of Music
Deputy Vice Chancellor

Academic Affairs & Support
Prof. Dato' Dr. Ahman Haji Zainuddin
Sr. Course Administrator Director Course Administrator

Ng Wooi Wah (Michael) Prof. Dr. P'ng Tean Hwa Kong Yoke Ling (Tammy)
Adjunct Prof.
Ian Lim Kean Seng
Head of Programme Head of Programme Head of Programme Head of Programme

Classical Music Degree Contemporary Music Degree Foundation in Music Postgraduate Studies
Ysan Suit Yin Asst. Prof. Justin Lim Fang Yee Nur Lina bt. Anuar Asst. Prof. Dr. Cheong Yew Choong
Lecturer Lecturer
Dr. Victor Chan Wei Tuck Josephine Ang Cheng Eng Tutor/ Event Coordinator
Hoo Sim Li Choong Hueyuen Terrence Ling Hung Shu
Tan Chee Shen Leong Zhe Fui Grace
Asst. Prof. Dr. Tan Yunn Bing Lim Hoong Bee
Asst. Prof. Yong Sue Yi
Last update: 22 Aug 2016
3.2 Staff List
Full Time Staff

1. Prof. Dr. Png Tean Hwa Director thwa@ucsiuniversity.edu.my
Head of Program,
2. Asst. Prof. Dr. Cheong Yew Choong cheongyc@ucsiuniversity.edu.my
Postgraduate Studies
Head of Program,
3. Ysan Suit Yin ysansy@ucsiuniversity.edu.my
Classical Music
4. Asst. Prof. Justin Lim Fang Yee Head of Program, justinlim@ucsiuniversity.edu.my

Contemporary Music
Head of Program,
5. Nur Lina bt Anuar nurlina@ucsiuniversity.edu.my
Foundation in Music
Senior Course
6. Ng Wooi Wah (Michael) michaelng@ucsiuniversity.edu.my
Administrator
7. Kong Yoke Ling (Tammy) Course Administrator kongyl@ucsiuniversity.edu.my
8. Josephine Ang Cheng Eng Lecturer josephineang@ucsiuniversity.edu.my
9. Dr. Chan Wei Tuck (Victor) Lecturer chanwt@ucsiuniversity.edu.my
10. Choong Hueyuen Lecturer choonghy@ucsiuniversity.edu.my
11. Hoo Sim Li Lecturer hoosl@ucsiuniversity.edu.my
12. Grace Leong Zhe Fui Lecturer graceleong@ucsiuniversity.edu.my
13. Lim Hoong Bee Lecturer hblim@ucsiuniversity.edu.my
Tutor and Event
14. Terrence Ling Hung Shu terrenceling@ucsiuniversity.edu.my
Coordinator
15. Tan Chee Shen Lecturer tancs@ucsiuniversity.edu.my
Asst. Prof. Dr. Tan Yunn Bing
16. Assistant Professor christinetan25@ucsiuniversity.edu.my
(Christine)
17. Asst. Prof. Yong Sue Yi Assistant Professor yongsy@ucsiuniversity.edu.my
Part Time Staff (Classical)
1. Terence Au Eng Yee Lecturer engyee_terence@yahoo.com
2. Chaing Yi Ling Lecturer yilingchaing@gmail.com
3. Chee Su Yen Lecturer suyenchee@hotmail.com
4. Chew Beng Lin Lecturer maxyki@yahoo.com
5. Choi Hee Jung Lecturer muhjc@hotmail.com
6. Chong Chooi Foong Lecturer chooifoong@gmail.com
7. Dr. Chong Yew Yoong Lecturer piano_cello_conducting@yahoo.com
8. Fong Yee Seong (Lawrence) Tutor Fongys9009@yahoo.com
9. Ho Chee Kiang Tutor ckho-flute@hotmail.com
10. Ho Chi Mei Lecturer season.beau@gmail.com
11. Toko Inomoto Lecturer Inomoto.toko@gmail.com
12. Dr. Khoo Khe Sin Lecturer khesin.khoo@gmail.com
13. Lee Yin Hwa Lecturer yinhwa74@gmail.com
14. Leong Mann Yee Lecturer mannyee23@yahoo.com
15. Adjunct. Prof. Ian Lim Kean Seng Adjunct Professor limksi@hotmail.com
16. Liu Jian Lecturer liujian.asia@gmail.com
17. Carolyn Lo May Yeeng Lecturer carolyn.lmy@gmail.com
18. Loo Bang Hean Lecturer banghean@gmail.com

19. Mah Yiing Chiau (Cheryl) Lecturer cthepegasus@gmail.com
20. Ng Chong Lim Lecturer chonglimng@yahoo.com
21. Ngu Ngok Hua (Peter) Tutor ngupeter@hotmail.com
22. Ooi Khai Ern (Bernice) Lecturer khaiern@gmail.com
23. Seow Chee Chuan Lecturer ccseow@hotmail.com
24. Tan Earn Tzee (Cynthia) Tutor earn.tzee@gmail.com
25. Tan Hoong Peng (Ashley) Tutor ashley_hp81@hotmail.com
26. Tan Hui Sean Lecturer tan_huisean@yahoo.com
27. Jacqueline Tan Poh Yin Tutor jackietpy@yahoo.com
28. Tan Siaw Pei (Jaz) Lecturer spjaz@yahoo.com
29. Kenneth Teh Kien Huat Lecturer hgkm2003@yahoo.com
30. Yanisheva, Alla Shamilyevna Lecturer yanisheva@yahoo.com
31. Morag Yong Ker Syn Lecturer moragyong@gmail.com
Part Time Staff (Contemporary)
1. Ahmad Zapuwan Ismail Tutor zapuwan@gmail.com
2. Arif Zain Bin Yusof Ali Lecturer arif.yusof@gmail.com
3. Arnesto, Joseph Raymund Uyehara Tutor jazzitstudios@yahoo.com
4. Boyle, James Philip Sheng Lecturer jamesboyle30@yahoo.co.uk
5. Chan Ching Shung (Julian) Lecturer jcsax78@gmail.com
6. Cheah Wei Li Lecturer weilicheah@gmail.com
7. Chen Ai Reen Tutor aireen_chen@yahoo.com
8. Chen Kim Kuen (Ethan) Tutor kkchen8@hotmail.com
9. Cheng Pin Xuan (Toro) Lecturer xuan_34@hotmail.com
10. Chow Ken Chung Tutor kenchungbass@gmail.com
11. Gan Hui Wan Tutor ganhw21@gmail.com
12. Hin Ee Jeng (Adrian) Tutor adrianhin1702@gmail.com
13. Winnie Ho Yin Nie Tutor jazzywinnieho@gmail.com
14. Jong Vui Khiun (Wilson) Tutor wilsonjong@hotmail.com
15. Joo Yong Chun (Casey) Tutor jeffersoncasey@gmail.com
16. Koon Lhip Hoe (Elliott) Tutor elliottricband@gmail.com
17. Loy Heng Joe Tutor joeloy.my@gmail.com
18. Tham May Sze (Stephanie) Tutor stam.usa@gmail.com
19. Tiew Tok Khon Tutor bluezt@yahoo.com
20. Viveganathan a/l Karuppiah (Jordan) Tutor rvrsjordan@gmail.com
21. Wen Keng Foong (Eddie) Tutor eddiewenkf@gmail.com

22. Brandon Wong Hon Yen Tutor brandonhonyen@gmail.com
23. Wong May Yin (Sharon) Tutor mayyin75@gmail.com
4. Program Overview
4.1 Program Objectives and Learning Outcomes
Foundation in Music
Program Objective: To equip post-SPM (or equivalent) students with music and academic skills and abilities in
order to prepare them for the Bachelor of Classical Music (Honours) or Bachelor of Contemporary Music (Honours)
degree programs at UCSI University.
By the completion of this program:

1. Students will demonstrate skills, knowledge and understanding in relation to a number of fundamental
areas within the field of music. These include musicianship, solo and ensemble performance, music literacy
and keyboard competency.
2. Students will also demonstrate skills, knowledge and understanding in relation to other artistic, social,
technological, intellectual and scientific fields of study.
3. Students will develop skills such as self-discipline, proper practice and learning habits and the ability to
construct their own knowledge.
4. Students will develop an ability to express, articulate and communicate ideas effectively both orally and in
written form.

Bachelor of Classical Music (Honours)
Program Objective: To train professional musicians in the field of classical music especially in the areas of
education and performance, thereby fulfilling the human resource needs of the country in the field of music.

1. Students will demonstrate skills, knowledge and understanding in the core fields of classical music
including music theory, ear training or aural skills, music history, and both solo and ensemble performance.
2. Students will demonstrate skills, knowledge and understanding in a range of chosen or elective specialties
such as advanced theory and analysis, pedagogy, and piano music literature.
3. Students will demonstrate advanced levels of skill, creativity and artistic understanding, informed by the
experiences of those at the forefront of their profession, in one major instrument in ways that demonstrate a
professional approach to their work through the presentation of a recital, or in the case of composition,
completion of a project/portfolio.
4. Students will demonstrate an ability to construct informed judgments within their
creative/practical/intellectual activity such as the critical appraisal of performances or compositions and
reflection on relevant social, historical, artistic and intellectual issues.
5. Students will demonstrate transferable skills and qualities, including teamwork, leadership, confidence,
reliability, adaptability and integrity through ensemble work and class projects.
6. Students will demonstrate an ability to communicate information, ideas and arguments both orally and in
written form to a variety of audiences.
Bachelor of Contemporary Music (Honours)

Program Objective: To train professional musicians in the field of contemporary music especially in the areas
performance and composition/arrangements, thereby fulfilling the human resource needs of the country in the field
of music.

1. Students will demonstrate skills, knowledge and understanding in the core fields of contemporary music
including music theory, ear training or aural skills, music history, solo and ensemble performance,
composing/arranging, and music technology.
2. Students will demonstrate advanced levels of skill, creativity and artistic understanding, informed by the
experiences of those at the forefront of their profession, in one major instrument in ways that demonstrates
a professional approach to their work through the presentation of a recital, or in the case of composition,
completion of a project/portfolio.
3. Students will demonstrate an ability to construct informed judgments within their creative/practical activity
such as the critical appraisal of performances or compositions and reflection on relevant social, historical,
artistic and intellectual issues.
4. Students will demonstrate transferable skills and qualities, including teamwork, leadership, confidence,
reliability, adaptability and integrity through ensemble work and class projects.
5. Students will demonstrate an ability to communicate information, ideas and arguments both orally and in
written form to a variety of audiences.
4.2 Admission and Language Requirements

For Foundation in Music program:
1. Academic Requirements
Candidates must fulfill ONE of the following:
SPM/ O- Levels Min 5 credits
UEC Min 3 credits
2. English Requirements
Candidates must obtain one of the following:
A distinction in SPM / UEC English, MUET Band 5, or a score of 213 (computer-based) / 550
(writing-based) / 79 - 80 (Internet-based) in TOEFL, or Band 5.5 in IELTS
If English Language requirements are not fulfilled, additional English module(s) will be made compulsory
3. Music Requirements
Candidate must pass the Institute of Music audition and placement tests, as follows:
Performance audition
Aural Test
Theory Test
For Bachelor of Classical Music (Hons.) and Bachelor of Contemporary Music (Hons.)
programs:
1. Academic Requirements
Candidates must fulfill ONE of the following:
STPM/ A- Levels/ equivalent Min 2 Principals
UEC Min 5 credits

2. English Requirements
Candidates must obtain one of the following:
A distinction in SPM / UEC English, MUET Band 5, or a score of 213 (computer-based) / 550 (writing
based) / 79 - 80 (Internet-based) in TOEFL, or Band 5.5 in IELTS
If English Language requirements are not fulfilled, additional English module(s) will be made compulsory
3. Music Requirements
Candidate must pass the Institute of Music audition and placement tests, as follows:
Performance audition
Listening Test
Aural Test
Theory Test
4.3 Program Structure

Bachelor of Classical Music (Honours)
Year 1
Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

Course Course Credit Course Course Credit Course Course Credit
Code Description Hours Code Description Hours Code Description Hours
Core:
SC001 or Choir 1 or 2 SC002 or Choir 2 or 2 SN162 Music 2
SC031 Orchestra 1 SC032 Orchestra 2 Technology 1
SC081 Recital 0 SC051 CME 1 2
Attendance 1
SC091 Masterclass 0 SC082 Recital 0
Attendance 1 Attendance 2
SC101 Music Theory 1 3 SC092 Masterclass 0
Attendance 2
SC121 Aural Skills 1 2 SC102 Music Theory 2 3
SC141 Introduction to 3 SC122 Aural Skills 2 2
Music History
SN161 Notation 1 SC142 Malaysian Music 3
Software and
MIDI
SC181 Major 4 SC182 Major Instrument 4
Instrument 1 2
SE120 University 3
Reading &
Writing
University & Other Core/MPU Courses/Electives:
LL101 University Life 3 WJB301 Hubungan 3
Etnik**
EAB100 Extra-Curricular 1 Elective 1 3
Learning
Experience 1
Elective 2 2
Total: 19 Total: 19 Total: 10

* Major Instrument is a music core subject; Minor Instrument is an elective subject
**International students will take WJB303 Pengajian Malaysia
Year 2

Core:
SC003 or Choir 3 or 2 SC004 or Choir 4 or 2 SC241 or Music 3
SC033 Orchestra 3 SC034 Orchestra 4 242 History 1 or
2
SC052 CME 2 2 SC053 CME 3 2
SC083 Recital 0 SC084 Recital 0
SC093 Masterclass 0 SC094 Masterclass 0
SC201 Music Theory 3 3 SC202 Music Theory 4 3
SC221 Aural Skills 3 2 SC222 Aural Skills 4 2
SC225 Conducting 2 SC226 Keyboard Skills 2
Skills
SC243 Music Research 2 SC241 or Music History 1 3
Methodology 242 or 2
SC281 Major 4 SC282 Major 4
Instrument 3 Instrument 4
EAB200 Extra-Curricular 1 Elective 1 2 WJB302 Tamadun 3
Learning Islam dan
Experience 2 Tamadun
Asia**
Elective 1 2 Elective 1 2

** International students will take WJB304 Bahasa Melayu Komunikasi 3
Year 3

Core:
SC005 or Choir 5 or 2 SC006 or Choir 6 or 2 SC389 Internship 6
SC035 Orchestra 5 SC036 Orchestra 6
SC054 CME 4 2 SC086 Recital Attendance 0
6
SC085 Recital 0 SC096 Masterclass 0
SC095 Masterclass 0 SC382 Final Year 4

Attendance 5 Performance 2
or or
SC386 Final Year
Research Project 2
SC381 Final Year 4
Performance 1
or or
SC385 Final Year
Research Project
1
SC341 Music & 3
Modernism
EAB300 Extra-Curricular 1 HB201 Malaysian 2
Learning Experiential
Experience 3 Tourism
Elective 2 3
Bachelor of Contemporary Music (Honours)
Year 1

Core:
SC001 or Choir 1 or 2 SC002 or Choir 2 or 2 SN162 Music 2
SC031 Orchestra 1 SC032 Orchestra 2 Technology 1
SN081 Recital 0 SN051 Modern Band 1 2
Attendance 1
SN091 Masterclass 0 SN082 Recital 0
SN101 Music Theory 1 3 SN092 Masterclass 0
Attendance 2
SN121 Aural Skills 1 2 SN102 Music Theory 2 3
SN141 Introduction to 3 SN122 Aural Skills 2 2
Popular Music
History
SN161 Notation 1 SC142 Malaysian Music 3
Software and
MIDI
SN181 Major 4 SN182 Major Instrument 4
Instrument 1 2
SE120 University 3
Reading &
Writing
EAB100 Extra-Curricular 1 WJB301 Hubungan 3

Learning Etnik**
Experience 1
LL101 University Life 3 Elective 1 3
Elective 2 2

**International students will take WJB303 Pengajian Malaysia
Year 2

Core:
SC003 or Choir 3 or 2 SC004 or Choir 4 or 2 SN241 or Popular 3
SC033 Orchestra 3 SC034 Orchestra 4 242 Music
History 1 or
2
SN052 Modern Band 2 2 SN053 Modern Band 3 2
SN083 Recital 0 SN084 Recital 0
SN093 Masterclass 0 SN094 Masterclass 0
SN201 Music Theory 3 3 SN202 Music Theory 4 3
SN221 Aural Skills 3 2 SN222 Aural Skills 4 2
SC243 Music Research 2 SN241 or Popular Music 3
Methodology 242 History 1 or 2
SN262 Music 2 SN264 Music Industry 2
Technology 2 in Malaysia
SN281 Major 4 SN282 Major 4
Instrument 3 Instrument 4
EAB200 Extra-Curricular 1 Elective 1 2 WJB302 Tamadun 3
Learning Islam dan
Experience 2 Tamadun
Asia**

** International students will take WJB304 Bahasa Melayu Komunikasi 3
Year 3


Core:
SC005 or Choir 5 or 2 SC006 or Choir 6 or 2 SN389 Internship 6
SC035 Orchestra 5 SC036 Orchestra 6
SN054 Modern Band 4 2 SN086 Recital Attendance 0
6
SN085 Recital 0 SN096 Masterclass 0
SN095 Masterclass 0 SN382 Final Year 4
Attendance 5 Performance 2
or or
SN386 Final Year
Research Project 2
SN381 Final Year 4
Performance 1
or or
SN385 Final Year
Research Project
1
SN341 Music and 3
Popular Culture
EAB300 Extra-Curricular 1 HB201 Malaysian 3
Learning Experiential
Experience 3 Tourism
Elective 2 3
4.4 Course Selection
All course selection will be conducted towards the end of each semester, usually in Week 12.
The Head of Programme (HoP) will approve or reject the application one week after the course selection has ended.
Selection of subjects with wrong titles and codes will be rejected by the HoPs.
After the HoP has approved or rejected the application, students are responsible to check their course selection
status/confirmation online. Should students add or drop courses at the beginning of the semester, they are also
responsible to check if the application is approved.
Students are advised to print a copy of the course confirmation and keep it for their reference.

4.4.1 Definition of Course Types, Course Codes, Credit Hours and Graduation
Requirements
Course types
a) Core - compulsory courses that students must complete
b) Electives - optional courses that students can choose from a selection
c) Prerequisites - courses that students are required to complete prior to taking an advanced course

Course Codes
For music subjects, course codes are categorized in reference to the respective years of study:
Course codes Year of study

SC/SN/SF100 Degree 1st year Foundation 1-year
SC/SN200 Degree 2nd year
SC/SN300 Degree 3rd year
Credit hours
Credit Hour is a unit of measurement given to a student to complete an academic course. In general, 1 credit hour
equates to 40 hours of SLT (Student Learning Time), although practical subjects may require more hours of work.
Graduation Requirements
Foundation/Degree students must fulfill 50/130 credits respectively to graduate from the program:
Course types No. of credits

Foundation Degree Degree
(Classical) (Contemporary)
Core 34 94 92
Electives 16 19 21
MPU - 14 14
University Core - 3 3
Recital & Masterclass Attendance 0 0 0
(2 semesters) (6 semesters) (6 semesters)
TOTAL credits 50 130 130

4.4.2 Guide to Course Selection

You will need to log in and select the courses online via IIS, after meeting with the HoP (Classical Music Degree /
Contemporary Music Degree / Foundation in Music). Below are some guidelines for you.
1. Before choosing your courses, please consult the updated listing of courses offered for the next semester on
our notice board. Choose only courses that will be offered (marked Y), and be sure that you have the pre-
requisites. These documents are posted on our notice board.
2. The minimum and maximum number of credit hours a student can take per semester as follows:
Program Minimum Maximum

Foundation 15 18
Degree (Long Semester) 15 20
Degree (Short Semester)* 9 10
(*September-October Semester)
In a long semester (January-April and May-August of each academic year), a full-time student is required
to undertake four (4) or five (5) courses, or 15 credit hours, whichever is higher. In a short semester
(September-October), a full-time student are expected to undertake approximately two (2) courses, or nine
(9) credit hours, whichever is higher.
If you wish to take an overload (more than the maximum stated above), you have to either see the HoP first
or justify with good reasons in the remark column when you do course selection. If you attempt to sign up
for more than maximum hours without a convincing reason, we will simply reject some courses in your
course selection application.

3. For all Foundation in Music students who are in the final semester: your HoP will meet you all in a separate
session. You will have to wait for the release of your results at the beginning of the next semester to do
course selection, and you would be allowed to register for classes in the degree program only when you
pass all your courses in the Foundation program. However, please fill in the online Student Feedback form
for each of your courses this semester before the deadline (end of Week 12).
4. For continuing Foundation in Music students: First, take the next level of (i) Major and Minor Instruments,
(ii) Choir or Orchestra (iii) Music Theory Rudiments, (iv) Musicianship Skills, and (v) Practical Skills,
until you complete level 2. Then, if you still have room left; select other remaining elective subjects. Please
note that the government has issued a directive that all students must complete the 50 credit hours required
at the foundation level in order to proceed to the degree program.
5. For continuing BMus (Classical and Contemporary) students: First take the next level of (i) Major
Instrument, (ii) Orchestra/Choir, (iii) CME/MB, (iv) Music Theory, (v) Aural Skills, (vi) Music
History/Popular Music History, (vii) MPU subjects, (viii) any other core subjects, and (ix) Minor
Instrument [this is an elective], until you complete all the required levels, if these are offered. Then, if you
still have room left, select other remaining elective subjects.
6. Important Notes Regarding Modern Band: The final decision on changes, additions, and deletion of
Modern Band studies must be made during the course selection week to avoid creating scheduling
issues when we assign band members and band coaches to you for coaching sessions. Please note
that UCSIs add/drop deadline at the beginning of each semester is NOT applicable for Modern Band
studies; in other words, the Institute of Music does NOT allow add/drop of Modern Band course after the
course selection week. You are advised to consider and make your decision carefully during course
selection period. If you fail to do course selection for Modern Band courses, you may be assigned and
grouped to an incomplete band as other bands are already filled up.
7. Important Notes Regarding Major and Minor Instruments: The final decision on changes, additions, and
deletion of all Major and Minor Instrument studies must be made during the course selection week to avoid
creating confusion when we assign teachers to you for these individual lessons. Please note that UCSIs
add/drop deadline at the beginning of each semester is NOT applicable for Major and Minor Instruments;
in other words, the Institute of Music does NOT allow add/drop of Major and Minor Instruments after the
course selection week. You are advised to consider and make your decision carefully during course
selection period. If you fail to do course selection for Major and Minor Instruments, you may not be
assigned to the same studio in the next or later semester if your instructors studio is already filled up.
8. Course selection for Major and Minor Instruments: after selecting the correct course code, you must
indicate your instrument for each code so that we would know what you are taking (e.g. SN182 Major
Instrument 1: contemporary piano, SN192 Minor Instrument 2: classical violin). If you do not indicate your
instrument, then we cannot assign you an appropriate instructor.
9. Changes in Minor Instrument: You must explain in your online course selection under the Remarks column
if you would like to:
(i) Add/change/drop Minor Instrument
(ii) Extend the Minor Instrument study to 1 hour (instead of 1/2 hour)
10. Request for change of teacher for Minor Instrument: First, inform your current teacher and make known to
them your request and reason for change or stopping lessons. Then, state your request in your online course
selection under the Remarks column.
11. Request for Change of Major Instrument Instructor: You must submit the Change of Major Instrument
Instructor Form to the Music Office personally by the last day of classes in each semester. Any verbal or
online request will not be entertained. Under normal circumstances a student should study with a major
instructor for at least 2 semesters before requesting for any change.
12. Course codes: Please check your course codes carefully, especially for courses with multiple levels (e.g.
major and minor instruments, ensembles, and attendance). First, make sure you know which level you are
currently taking in this semester or have taken previously (you may check your course confirmation from
IIS), then sign up for the next level for next semester.

4.4.3 Course Offering Chart by semester (Y-table)
FOUNDATION IN MUSIC COURSES OFFERED FOR YEAR 2016-18

(Last update 12 Jan 2016)
2016 2017 2018
UCSI CODE CRD HR SUBJECT JAN MAY SEP JAN MAY SEP JAN MAY SEP
FOUNDATION IN MUSIC PROGRAM

Music Core Subjects: 36 credits
SF001-002 2 Choir 1-2 Y Y Y Y Y Y
SF011-012 2 Concert Choir 1-2 Y Y Y Y Y Y
SF031-032 2 Symphony Orchestra 1-2 Y Y Y Y Y Y
SF101 3 Music Theory Rudiments 1 Y Y Y Y Y Y Y Y Y
SF102 3 Music Theory Rudiments 2 Y Y Y Y Y Y Y Y Y
SF121 2 Musicianship Skills 1 Y Y Y Y Y Y Y Y Y
SF122 2 Musicianship Skills 2 Y Y Y Y Y Y Y Y Y
SF131 2 Practical Skills 1 Y Y Y Y Y Y Y Y Y
SF132 2 Practical Skills 2 Y Y Y Y Y Y Y Y Y
SF161 3 Experiencing Music Y Y Y Y Y Y
SF162 3 Introduction to Music Industry Y Y Y Y Y
SF181 4 Major Instrument 1 Y Y Y Y Y Y
SF182 4 Major Instrument 2 Y Y Y Y Y Y
SF191 2 Minor Instrument 1 Y Y Y Y Y Y Y Y Y
SF192 2 Minor Instrument 2 Y Y Y Y Y Y Y Y Y
English Core Subject: 4 credits
SE011 4 Writing for Academic Purposes Y Y Y Y Y Y Y Y Y
Non-Music Elective Subjects: 10 credits
CC003 4 Office Application Y Please check with Center of Pre-U Studies
BB006 4 Intro to Marketing Y Please check with Center of Pre-U Studies
SM003 3 Human Communication Y Please check with Center of Pre-U Studies
SP004 3 Positive Psychology Y Please check with Center of Pre-U Studies
FN101 3 Introduction to Malaysian Studies Y Please check with Center of Pre-U Studies
FN102 3 Introduction to Moral Studies Y Please check with Center of Pre-U Studies
FN104 3 Fund. Of Computer Graphics Y Please check with Center of Pre-U Studies
FN106 3 Fund. Of Oral Communication Y Please check with Center of Pre-U Studies

Page 1 of 1
CLASSICAL DEGREE COURSES OFFERED FOR YEAR 2016-18 (New Programme)
(Last update 26 May 2016)
2016 2017 2018
CLASSICAL MUSIC DEPARTMENT

Core Subjects:
SC001-006 2 Choir 1-6 Y Y Y Y Y Y
SC011-016 2 Concert Choir 1-6 Y Y Y Y Y Y
SC031-036 2 Symphony Orchestra 1-6 Y Y Y Y Y Y
SC051-054 2 Chamber Music Ensemble 1-4 Y Y Y Y Y Y
SC081-086 0 Recital Attendance 1-6 Y Y Y Y Y Y
SC091-096 0 Masterclass Attendance 1-6 Y Y Y Y Y Y
SC101 3 Music Theory 1 Y Y Y Y Y Y Y Y Y
SC102 3 Music Theory 2 Y Y Y Y Y Y Y Y Y
SC201 3 Music Theory 3 Y Y Y Y Y Y
SC202 3 Music Theory 4 Y Y Y Y Y Y
SC121 2 Aural Skills 1 Y Y Y Y Y Y
SC141 3 Intro to Music History Y Y Y Y Y Y
SC142 3 Malaysian Music Y Y Y Y Y Y
SC241 3 Music History 1 Y Y Y Y
SC242 3 Music History 2 Y Y Y Y Y
SC243 2 Music Research Methodology Y Y Y Y Y Y
SC341 3 Music& Modernism Y Y Y
SN161 1 Notation Software and MIDI Y Y Y Y Y Y Y Y Y
SN162 2 Music Technology 1 Y Y Y Y Y Y Y Y Y
SC225 2 Conducting Skills Y Y Y Y Y Y
SC226 2 Keyboard Skills Y Y Y Y Y Y
SC181 4 Major Instrument I Y Y Y Y Y Y
SC182 4 Major Instrument 2 Y Y Y Y Y Y
SC381 4 Final Year Performance 1 or Y Y Y Y Y Y
SC385 4 Final Year Research Project 1 Y Y Y Y Y Y
SC382 4 Final Year Performance 2 or Y Y Y Y Y Y
SC386 4 Final Year Research Project 2 Y Y Y Y Y Y
Music Elective Subjects:
SC131 2 English Diction Y Y
SC132 2 French Diction Y Y
SC133 2 German Diction Y Y
SC134 2 Italian Diction Y Y Y
SN141 3 Intro to Popular Music History Y Y Y Y Y Y
SN151 3 World Music Y Y
SN152 3 Music and Film Y Y Y
SC211 3 Analysis Y Y Y
SC212 3 Counterpoint Y Y Y
SC213 3 Baroque Techniques Y Y Y
SC214 2 Classical Workshop Y Y Y
SC215 2 Innovation Workshop Y Y Y
SC216 3 Instrumentation Y Y
SC231 3 Piano Pedagogy 1 Y Y Y
SC233 3 Vocal Pedagogy Y Y Y
SC234 3 Opera Workshop Y Y Y
SC235 3 Introduction to Kodly Method Y Y Y Y Y
SC251 3 Piano Literature 1 Y Y Y
SC252 3 Piano Literature 2 Y Y Y
SC253 3 Vocal Literature 1 Y Y Y
SC256 3 Performance Practices Y Y Y
SN264 2 Music Industry in Malaysia Y Y Y
SC191 2 Minor Instrument 1 Y Y Y Y Y Y Y Y Y
Page 1 of 1

CONTEMPORARY DEGREE COURSES OFFERED FOR YEAR 2016-2018 (New Programme)
(Last update 25 May 2016)
2016 2017 2018
CONTEMPORARY MUSIC DEPARTMENT

Core Subjects:
SC001-006 2 Choir 1-6 Y Y Y Y Y Y
SC011-016 2 Concert Choir 1-6 Y Y Y Y Y Y
SC031-036 2 Symphony Orchestra 1-6 Y Y Y Y Y Y
SN051-054 2 Modern Band 1-4 Y Y Y Y Y Y
SN101 3 Music Theory1 Y Y Y Y Y Y Y Y Y
SN102 3 Music Theory 2 Y Y Y Y Y Y Y Y Y
SN201 3 Music Theory 3 Y Y Y Y Y Y
SN202 3 Music Theory 4 Y Y Y Y Y Y
SN121 2 Aural Skills 1 Y Y Y Y Y Y
SN141 3 Intro to Popular Music History Y Y Y Y Y Y
SC142 3 Malaysian Music Y Y Y Y Y Y
SN241 3 Popular Music History 1 Y Y Y Y
SN242 3 Popular Music History 2 Y Y Y Y Y
SC243 2 Music Research Methodology Y Y Y Y Y Y
SN341 3 Music and Popular Culture Y Y Y
SN161 1 Notation Software and MIDI Y Y Y Y Y Y Y Y Y
SN162 2 Music Technology 1 Y Y Y Y Y Y Y Y Y
SN262 2 Music Technology 2 Y Y Y Y Y Y
SN264 2 Music Industry in Malaysia Y Y Y
SN081-086 0 Recital Attendance Y Y Y Y Y Y
SN091-096 0 Master class Attendance Y Y Y Y Y Y
SN181 4 Major Instrument 1 Y Y Y Y Y Y
SN381 4 Final Year Performance 1 or Y Y Y Y Y Y
SN385 4 Final Year Research Project 1 Y Y Y Y Y Y
SN382 4 Final Year Performance 2 or Y Y Y Y Y Y
SN386 4 Final Year Research Project 2 Y Y Y Y Y Y
Music Elective Subjects:
SC131 2 English Diction Y Y
SC141 3 Intro to Music History Y Y Y Y Y Y
SN151 3 World Music Y Y
SN152 3 Music and Film Y Y Y
SN211 2 Composition and Arranging Y Y Y
SN212 2 Song Writing Y Y Y
SN213 2 Jingle Writing Y Y Y
SC216 3 Instrumentation Y Y
SC225 2 Conducting Skills Y Y Y Y Y Y
SN231 2 Improvisation Skills Y Y Y
SC233 3 Vocal Pedagogy Y Y Y
SC234 3 Opera Workshop Y
SC235 3 Introduction to Kodly Method Y Y Y Y Y
SC253 3 Vocal Literature 1 Y Y Y
SN251 2 Contemporary Repertoire Studies Y Y Y
SN271 2 Sequencing, Sampling and Synthesis Y Y Y
SN191 2 Minor Instrument 1 Y Y Y Y Y Y Y Y Y


4.4.4 Course Synopsis

ECA100 Extra-Curricular Learning Experience 1
Pre-requisite: None
Co-curricular activities prepare students for experiential learning. Students learn about the theoretical framework in
the classroom and with Co Curriculum Course made available and compulsory to students, it provides the
opportunities for students to work in teams, to exercise leadership, and to take the initiative themselves. Students
will be grown to be better rounded in all aspect and these experiences add on to the employability value of the
students. This course highlights the importance of outside classroom or experiential learning that enables students to
exercise pertinent soft skills such as leading and managing teamwork, articulating ideas, strategic planning, and
evaluation skills.

Pre-requisite: ECA100 Extra-Curricular Learning Experience 1
ECA200 serves as a platform for students who have learned and eagerly wanting to try on learned knowledge into
the practical world. Students may not hold key position in a club or association but are being trained to assume key
position or given more responsibilities later in ECA300.

Pre-requisite: ECA200 Extra-Curricular Learning Experience 2
ECA300 focuses on integrating the learned knowledge from ECA100 and 200 into the practical world. Students
achievement and performance will be measure based on the outcome of an event.
LL101 University Life

Pre-requisite: None
University Life is a course that focuses on preparing first-year students to acquire the necessary knowledge, skills,
and application abilities to successfully function within a higher education environment. It provides students with
the theoretical knowledge and emphasizes on the ability to manage knowledge and information, which entails the
transfer of learning related to academic work. Students will be exposed to different opportunities that require them
to utilize creative and critical thinking skills as well as problem-solving abilities to work as individuals and as a
group. The culmination of this course will be a community-based project.
SE120 University Reading and Writing

Pre-requisite: None
This course provides a comprehensive knowledge on the grammatical rules of English language and equips the
students the necessary language skills in their major writing tasks in both minor and major courses. Students are also
exposed on the nature and techniques of essay writing and term paper writing. Moreover, reading is integrated in all
grammar and writing lessons.
SC001SC006 Choir 16
Pre-requisite: Institute of Music permission
This course provides students an acquaintance with choral repertoire and performance experience as members of a
large ensemble. In addition, students are given instruction and guidance during weekly rehearsals to help improve
their singing skills (e.g. breathing, tone, posture, diction).
SC031SC036 Orchestra 16
This course is designed for students who major in or play an orchestral instrument. It provides them an acquaintance
with orchestral repertoire and experience in preparing and performing orchestral music.
SC051SC054 Chamber Music Ensemble 14

Chamber music ensemble is designed to provide students with experience in preparing and presenting chamber
music involving their major instrument. Students are introduced to the skills on ensemble playing through practical
work; tutored rehearsals; string, wind, brass, and piano techniques; language/diction for singers; and concert

performances. Students will be expected to work on progressively more challenging and extensive ensemble
repertoire as they progress from level 1 to 4; a list of suggested repertoire appropriate for Year 1 and Year 2 is
available on the university website for the students reference and guidance.
SC081SC086 Recital Attendance 16

Pre-requisite: The previous level
All music majors are required to undertake 6 levels of Recital Attendances offered only in the long semesters of
Year 1-3. This module is designed to enhance students concert etiquette on-stage (performer) and off-stage
(audience), and to encourage student leadership and teamwork in a recital setting. Students are required to attend at
least 8 on-campus recitals per semester in order to fulfill each level of the Recital Attendance. Under the guidance of
lecturers, students will be able to apply knowledge gained from various subjects in a real-life performance setting
(stage management, audio setup, performance professionalism and so forth).
SC091SC096 Masterclass Attendance 16

All music majors are required to undertake 6 levels of Masterclass Attendances offered only in the long semesters of
Year 1-3. The Institute of Music invites several guest artists to conduct masterclasses each semester. These may
include any of the following activities such as presentation, workshop, lecture, seminar, discussion of performance
techniques and interpretation. Students are required to attend all masterclasses conducted each semester, including
the Institute of Music General Meeting. Failure to fulfill the Masterclass Attendance will result in an Unsatisfactory
(U) grade and student will need to repeat the course.
SC101 Music Theory 1

Pre-requisite: SF102 Music Theory Rudiments 2 or School of Music permission
Music Theory 14 is a series of courses designed to provide a thorough understanding of tonal music theory and an
introduction to twentieth-century music theory. Music Theory 1 is an initial study of the techniques and materials of
tonal music. Non-chord-tones, cadences, voice leading, three- and four- part writing, analysis of music consisting of
diatonic triads and seventh chords will be covered. Students will also be introduced to elementary analysis of phrase
structure and basic instrumentation.

Pre-requisite: SC101 Music Theory 1
A continuation of Music Theory 1, Music Theory 2 is a further study of diatonic harmony and an initial study of
chromaticism, including elementary modulatory techniques. Voice leading, three- and four-part writing and analysis
of music consisting of diatonic triads and seventh chords, secondary functions as well as mode mixture will be
covered. Small forms (i.e. binary, rounded binary and ternary forms) are introduced.
SC121 Aural Skills 1

Pre-requisite: SF122 Musicianship Skills 2, SF132 Practical Skills 2 or Institute of Music permission
The Aural Skills module consists of a series of courses designed to train and develop aural, notation, and sight
singing skills through a systematic and progressive study of the melodic, harmonic, and rhythmic building blocks
commonly applied in Classical and Contemporary repertoires. The integration between hearing, singing, and
dictation skills is emphasized throughout the courses. In correspondence with Theory 1, Aural Skills 1 covers
materials found in purely diatonic settings.

Pre-requisite: SC121 Aural Skills 1, SC101 Music Theory 1
notation skills is emphasized throughout the courses. A continuation of Aural Skills 1, Aural Skills 2 expands the
scope of training to cover secondary functions and modal interchange.

SC131 English Diction
Pre-requisite: None
This course provides the basics of English diction and how it is applied in singing. It introduces the use of the
International Phonetic Alphabet for the study of speech sounds. Vocal majors are strongly encouraged to take this
class during their course of study.
SC132 French Diction

Pre-requisite: None
This course provides the basics of French diction and how it is applied in singing. Vocal majors are strongly
encouraged to take this class during their course of study.
SC133 German Diction

Pre-requisite: None
This course provides the basics of German diction and how it is applied in singing. Vocal majors are strongly
SC134 Italian Diction

Pre-requisite: None
This course provides the basics of Italian diction and how it is applied in singing. Vocal majors are strongly
SC141 Introduction to Music History

Pre-requisite: None
This course is intended to introduce students, who may have no prior background in music history, to the study of
music history itself as well as to the broad content of the subject. It is therefore at once both an introduction to the
techniques and protocols of music history as a subject of study and an overview of the principal periods, styles,
genres and techniques of music from earliest times to recent manifestations. Topics covered in the study of music
history include historiography, bibliography, research techniques, academic honesty, essay writing techniques and
so on. A broad survey necessarily precludes the close attention to individual masterpieces that characterizes Music
History I and II. Rather, the emphasis is on the acquisition of content knowledge related to period style, composers,
forms, styles, genres, instrumentation and so on.
SC142 Malaysian Music

Pre-requisite: None
This course is an introduction to the development of music in Malaysia, and covers five main areas: classical music,
folk music, syncretic music, and popular music, and art music.
SC180 Major Instrument (Y1 Short Sem Ext)

Students who wish to continue taking extra/extended major instrument study during the short semester (Year 1)
could choose to register for this subject.
SC181SC182 Major Instrument 12

All music majors are required to undertake performance study in one instrument or voice in the first two years of the
degree program. The first year of study is regarded as a basic building and consolidation period. A separate syllabus
is available for each instrument offered, which provides details on suggested repertoire for each level/year of study,
technical and sight-reading requirements, and jury examination requirements. In addition to weekly individual
lessons with an assigned instructor, students will also be guided on and gain exposure to concert practice related to
their major instrument through scheduled and supervised recital performances.
SC183SC184 Second Major Instrument 12

This applies to students who are taking double major in the first two years of the degree program. The first year of
study is regarded as a basic building and consolidation period. A separate syllabus is available for each instrument
offered, which provides details on suggested repertoire for each level/year of study, technical and sight-reading

requirements, and jury examination requirements. In addition to weekly individual lessons with an assigned
instructor, students will also be guided on and gain exposure to concert practice related to their major instrument
through scheduled and supervised recital performances.
SC185 Second Major Instrument (Y1 Short Sem Ext)

Students who are taking double major and wish to continue taking extra/extended second major instrument study
during the short semester (Year 1) could choose to register for this subject.
SC191SC192 Minor Instrument 12

This is performance study in the students second instrument. One hour of daily practice is expected.
SC193 Minor Instrument (Ext 1)

Students who wish to continue taking extra/extended minor instrument study after completing SC292 Minor
Instrument 4 could choose to register for this subject.
SC194 Minor Instrument (Ext 2)

Students who are taking two minor instruments and wish to continue taking extra/extended second minor instrument
study after completing SC292 Minor Instrument 4 could choose to register for this subject.

A continuation of Music Theory 2, Music Theory 3 is a further study of chromatic vocabulary and advanced
modulations. Voice leading, three- and four-part writing and analysis of music consisting of chromatic chords,
enharmonicism and further elements of the harmonic vocabulary will be covered. The classical sonata form is
introduced.

A continuation of Music Theory 3 and a culmination of the four-semester study in music theory, Music Theory 4 is a
study of advanced harmonic vocabulary and practices in late-nineteenth century music as well as an initial study of
the techniques and materials (i.e. expanded tonality, atonality and serialism) of twentieth-century music.
SC211 Analysis
This course introduces students to the theory and practice of music analysis. Throughout the course the fundamental
question to be addressed is: how does a given piece of music work or function. The course is, therefore, much
more concerned with the individual work than a course in music history or critical musicology to which it forms a
valuable complement. The course examines a wide range of music including work from the period of common
practice as well as atonal and serial music.
SC212 Counterpoint
This course follows the species approach to counterpoint but within a broadly eighteenth-century or common
practice repertoire of harmonic and melodic resource. This enables students to acquire fundamental skills in
contrapuntal writing within a familiar stylistic framework but without the heavy emphasis on stylistic fidelity that
accompanies contrapuntal writing in earlier periods.
SC213 Baroque Techniques

Pre-requisite: SC212 Counterpoint
Baroque Workshop builds on the knowledge, skill and understanding achieved through the study of species
counterpoint in Counterpoint I, and applies this within the formal and stylistic context of the Baroque invention and

fugue. The course therefore focuses on imitative contrapuntal technique and culminates in the composition of both a
two-part invention and a four-part fugue.
SC214 Classical Workshop

Pre-requisite: SC141 Introduction to Music History, SC201 Music Theory 3
This workshop explores the expressive impact of classical music and examines various issues arising from a detailed
study of its musical language and style. Compositional, analytical, and writing skills will be developed.
SC215 Innovation Workshop

Broadly speaking the early stages of European modernism in music saw composers adopting one of two paths in
their pursuit of the new. For composers in the French/Russian axis (e.g. Scriabin, Debussy) the path to the new
was closely allied to the search for new musical materials (archaic, exotic, synthetic) but used within a tonal context;
for composers within the Austro-German axis (Schoenberg, Webern, Berg), the new was seen to lie in the direction
of ever increasing chromaticism and a concomitant weakening of diatonicism and functional tonality. This course
explores both paths, principally through the music of Debussy and Schoenberg. The course also surveys the
theoretical background, arising principally from the work of Samson, Perle, and Babbitt, within which this music
can best be discussed. In addition, students will explore techniques and ideas related to the music being studied
through the medium of pastiche composition.
SC216 Instrumentation
Pre-requisite: SC/SN141 Introduction to (Pop) Music History, SC/SN102 Music Theory 2, SC/SN122 Aural Skills 2
This course is concerned with scoring for instruments of the woodwind, brass, strings and percussion sections of the
modern orchestra. These instruments will be studied through the examination of scores from the literature as well as
through the creative application of writing skills. Extensive listening to orchestral pieces is emphasized in this
course, as it provides the essential framework for a study of orchestration.

commonly applied in Classical repertoires. The integration between hearing, singing, and notation skills is
emphasized throughout the courses. Aural Skills 3 extends the coverage to chromatic materials within tonal music
that correlates with Theory 3.

commonly applied in Classical repertoires. The integration between hearing, singing, and notation skills is
emphasized throughout the courses. Aural Skills 4 is the culmination of the Aural Skills module in which all
materials of tonal music are explored, including some twentieth-century idioms.
SC225 Conducting Skills

Pre-requisite: SC/SN102 Music Theory 2, SC/SN122 Aural Skills 2
This course aims to provide the student with the foundations of a sound conducting technique. The techniques of
score preparation and rehearsals are also covered. These techniques will be explored in relation to both instrumental
and choral conducting while not aiming to focus on either in particular.
SC226 Keyboard Skills

Pre-requisite: SC102 Music Theory 2, SC122 Aural Skills 2
This course focuses on a range of keyboard skills (such as transposition and score reading) that are useful in the
profession and aims to develop theoretical musicianship through practical application.

SC231 Piano Pedagogy 1
Pre-requisite: SC/SN141 Introduction to Music History, SC/SN182 Major Instrument 2 or Institute of Music
permission
This course will introduce students to various teaching materials used to enhance the teaching-learning process.
They will learn and understand the structure of curriculum for individual and group lessons, and develop teaching
skills through critical thinking and mock teachings.
SC232 Piano Pedagogy 2

Pre-requisite: SC/SN141 Introduction to Music History, SC/SN182 Major Instrument 2 or Institute of Music
permission
This course offers a working knowledge of materials and teaching strategies appropriate for piano teaching in a
comprehensive-musicianship setting, at the intermediate and advanced levels.
SC235 Introduction to Kodaly

Pre-requisite: SC/SN122 Aural Skills 2, SC/SN102 Music Theory 2
This course introduces students to one of the approaches to music educationthe Kodly Method. Students will get
acquainted with the teaching of musicianship through singing.
SC241 Music History 1

Pre-requisite: SC141 Introduction to Music History
The course will acquaint the student with the principal styles, forms and repertory of Western art music from circa
1650 to circa 1815. Analysis of and listening to selected scores are of central importance to the course.
SC242 Music History 2

Pre-requisite: SC141 Introduction to Music History
The course will acquaint the student with the principal styles, forms and repertory of Western art music from circa
1815 to circa 1900. Analysis of and listening to selected scores are of central importance to the course.
SC243 Music Research Methodology

Pre-requisite: SC141 Introduction to Music History or SN141 Introduction to Pop Music History
This course introduces a framework for undertaking research in music history, music analysis and music
performance, depending on the interests of individual students. The course provides training in research techniques,
and prepares students for the writing of an annotated research bibliography and a research paper.
SC251 Piano Literature 1

This course surveys the solo literature for keyboard/piano from the fourteenth to the early nineteenth century, up to
the piano works of Beethoven and Schubert.
SC252 Piano Literature 2

This course surveys the solo literature for piano from the nineteenth to the end of the twentieth century.
SC253 Vocal Literature 1

Pre-requisite: 2 full semester of voice major study or 3 full semester of voice minor study.
This course surveys the song literature and performance practice of the solo voice from seventeenth to twentieth
century, with particular emphasis on Italian songs and German lieder, up to the solo vocal works of Richard Strauss.
SC256 Performances Practices

This course examines various issues confronting performers arising from the authenticity movement, performance
practice, and interpretation of music from different style periods. Students will explore these issues through
performance, reading and class discussion, comparisons of performances (recorded and live), and research of related
literature. Problem-based learning approach along with some lectures will be used.

SC281SC282 Major Instrument 34

A continuation of Major Instrument 12, in the second year, students are expected to show development of greater
technical fluency and speed and to perform their pieces with greater authority and confidence. A separate syllabus is
available for each instrument offered, which provides details on suggested repertoire for each level/year of study,
technical and sight-reading requirements, and jury examination requirements. In addition to weekly individual
SC283SC284 Second Major Instrument 34

A continuation of Second Major Instrument 12, in the second year, students are expected to show development of
greater technical fluency and speed and to perform their pieces with greater authority and confidence. A separate
syllabus is available for each instrument offered, which provides details on suggested repertoire for each level/year
of study, technical and sight-reading requirements, and jury examination requirements. In addition to weekly
individual lessons with an assigned instructor, students will also be guided on and gain exposure to concert practice
related to their major instrument through scheduled and supervised recital performances.
SC285 Second Major Instrument (Y2 Short Sem Ext)

Pre-requisite: Instituteof Music permission
SC291SC292 Minor Instrument 34

SC341 Music and Modernism

Pre-requisite: SC241 Music History 1, SC242 Music History 2, SC202 Music Theory 4
This course corresponds approximately to the chronological period bounded by the beginning of the twentieth
century at one end and the advent of post-modernism in the late 1970s at the other. As with Music History 1 and 2,
the emphasis is on the music of the period and its individual masterworks. However, greater account is taken of the
periods cultural climate of ideas and crosscurrents with other artistic, intellectual, political, social and economic
trends are explored.

SC381SC382 Final Year Performance 12

Pre-requisite: SC282 Major Instrument 4, SC243 Music Research Methodology
All students in the final year must choose to undertake either a research or performance project. Students who
choose the performance option will be perform a concerto movement (or a work written for the instrument with
orchestral accompaniment) and a public solo recital program in the final year on their major instrument. They will
also write program notes for the music they perform. A separate syllabus is available for each instrument offered,
which provides details on suggested repertoire appropriate for this level and the jury/recital examination
requirements. In addition to weekly individual lessons with an assigned instructor, students will also be guided on
and gain exposure to concert practice related to their major instrument through scheduled and supervised recital
performances.
SC385SC386 Final Year Research Project 12

Pre-requisite: SC282 Major Instrument 4, SC243 Music Research Methodology
choose the research option will undertake a research project and produce a dissertation. This exact content of this
course depends on the nature of the individual projects themselves. All student taking this option should first plan
and make an informal proposal to the Course Coordinator towards the end of the semester immediately prior to the
start of the project. Depending on student numbers, the initial work of the course will be in the form of group
seminars covering a revision of basic research skills and the principles of project design. Following this, there will
be a sequence of individual tutorials that are largely responsive to the evolving circumstances of individual research
projects.
SC387 Final Year Research Project (Short Sem Ext)

Students who require more time and wish to continue extended major study on the Research Project during Year 3
short semester could choose to register for this subject.
SC388 Final Year Research Project (Long Sem Ext)

Students who require more time and wish to continue extended major study on the Research Project after Year 3
SC389 Internship
Pre-requisite: Completion of 90% of the degree program
Students will complete a 14-week Internship with a company in the music or performing-arts related industry which
can offer a varied, practical and challenging learning experience. Such a company might be in any of the principal
sectors of the industry such as education (such as schools and music centers), recording, music production,
publishing, concert promotion, event organizing, etc. The Internship will be supervised by a sponsor from the host
company and an appointed music staff.
SC390 Second Major Final Year Performance (Short Sem Ext)

Students who are taking double major and wish to continue extended second major study on the Performance Project
during Year 3 short semester could choose to register for this subject.
SC391 Final Year Performance (Long Sem Ext)

Students who require more time and wish to continue extended major study on the Performance project during Year
3 short semester could choose to register for this subject.
SC393 Second Major Final Year Performance (Long Sem Ext)

after Year 3 could choose to register for this subject.
SF001SC002 Choir 12
This course provides students an acquaintance with choral repertoire and performance experience as members of a
large ensemble. In addition, students are given instruction and guidance during weekly rehearsals to help improve
their singing skills (e.g. breathing, tone, posture, diction).
SC031SC032 Orchestra 12
This course is designed for students who major in or play an orchestral instrument. It provides them an acquaintance
with orchestral repertoire and experience in preparing and performing orchestral music.
SF081SF082Recital Attendance 12

All music majors are required to undertake 2 levels of Recital Attendances offered only in the long. This module is
designed to enhance students concert etiquette on-stage (performer) and off-stage (audience), and to encourage
student leadership and teamwork in a recital setting. Students are required to attend at least 8 on-campus recitals per
semester in order to fulfill each level of the Recital Attendance. Under the guidance of lecturers, students will be
able to apply knowledge gained from various subjects in a real-life performance setting (stage management, audio
setup, performance professionalism and so forth).
SF091SF092 Masterclass Attendance 12

All music majors are required to undertake 2 levels of Masterclass Attendances offered only in the long semesters.
The Institute of Music invites several guest artists to conduct masterclasses each semester. These may include any of
the following activities such as presentation, workshop, lecture, seminar, discussion of performance techniques and
interpretation. Students are required to attend all masterclasses conducted each semester, including the Institute of
Music General Meeting. Failure to fulfill the Masterclass Attendance will result in an Unsatisfactory (U) grade and
student will need to repeat the course.
SF101 Music Theory Rudiments 1

Pre-requisite: None
Music Theory Rudiments 12 is a series of courses designed to provide a strong foundation of basic musical
concepts for progression to both the classical and contemporary music degree programs. Music Theory Rudiments 1
begins with a review of the basics in Western music notation, and provides study of pitch, scale, key signatures, all
diatonic triads, 7th chords, and Italian/ German musical terms and signs.
SF102 Music Theory Rudiments 2

Pre-requisite: SF101 Music Theory Rudiments 1
A continuation of Music Theory Rudiments 1, Music Theory Rudiments 2 completes and provides a comprehensive
study of the basic materials in tonal music, covering the elements of pitch, rhythm, triads, chords, simple harmonic
analysis, cadences, lead sheet symbols and Italian/ German/ French musical terms and signs.
SF121 Musicianship Skills 1

Pre-requisite: None
Musicianship Skills 1 and 2 are designed to bring students of varied backgrounds to a common skill level in
Listening and Aural and to ensure a firm foundation of music literacy and vocabulary. The two courses are
cumulative rather than progressive in that Musicianship 2 builds on the achievement of Musicianship 1, and the
skills and understanding of Musicianship Skills 1 are reinforced and accumulated in Musicianship 2. However, in
terms of the listening component, Musicianship Skills 1 focuses on the more primary aspects of musical structure
such as timbre, texture, dynamics, metre and so on, while Aural similarly concentrates on fundamental pitch, chordal
and rhythmic formations.
SF122 Musicianship Skills 2

Pre-requisite: SF121 Musicianship Skills 1
Musicianship Skills1 and 2 are designed to bring students of varied backgrounds to a common level of Listening and
Aural skill and to provide a firm foundation of music literacy and vocabulary. The two courses are cumulative as
much as progressive in that Musicianship 2 builds on the achievement of Musicianship 1, and the skills and
understanding of Musicianship Skills1 are reinforced and accumulated in Musicianship Skills 2. However, in terms
of the listening component, Musicianship Skills 2 focuses on more advanced aspects of musical structure and
organization such as form and genre, melody, theme and melodic devices, etc.; while Aural similarly concentrates
on more advanced elements of pitch, harmonic and rhythmic formations. The teaching approach again integrates
listening, aural, knowledge and vocabulary around a succession of central topics rather than treating them as
separate components. Accordingly, both the mid-term and the final assessments are by means of a single listening
paper together with a prepared CD of listening extracts.
SF131 Practical Skills 1

Pre-requisite: None
Sight reading (on the students instrument) is taught in relation to melodic, uni-durational pitch sequences,
rhythmic patterns and chord progressions using primary triads in root position. Keyboard harmony (which is

required of both keyboard and non-keyboard majors) connects with and reinforces parallel work in theory, and
includes the realization of simple figured bass notation, harmonisation of cadential progressions, open score reading
and playing by ear of both a short melody and a chordal progression. Vocalisation includes the singing of intervals
(as required, above and below a given note), triads (either complete or individual degrees) and melodic
improvisation (such as the improvisation of a consequent to a given antecedent). Rhythmic performance includes
the clapping or tapping of monophonic rhythmic patterns from memory.
SF132 Practical Skills 2

Pre-requisite: SF131 Practical Skills 1
Sight reading (on the students instrument) is taught in relation to single line melodies, rhythmic patterns and
chord progressions. Keyboard harmony (which is required of both keyboard and non-keyboard majors) connects
with and reinforces parallel work in theory, and includes the realization of simple figured bass notation,
harmonisation of cadential progressions, open score reading and playing by ear of both a short melody and a chordal
progression. Vocalisation includes the singing of intervals (as required, above and below a given note), triads
(either complete or individual degrees) and melodic improvisation (such as the improvisation of a consequent to a
given antecedent). Rhythmic performance includes the clapping or tapping of rhythmic patterns from memory.
SF161 Experiencing Music

Pre-requisite: None
Students are encouraged to experience music in, as many ways as are possible through each of the modes of musical
activity, i.e., performing and listening. It is a practical study of music in which active involvement with various
aspects of music is encouraged. This course aims to expose and educate students on various matters related to
involvement in concert/recital performances, which can be viewed from the perspectives of a performer, a stage
crew or the audience. It will give students greater understanding of issues to be considered in performance and
organizing a recital/concert.
SF162 Introduction to Music Professions

Pre-requisite: None
This course will introduce the various career options to students in music with its attending challenges and required
skills to succeed. Students will also get to know the prominent practitioners of different fields within Malaysia.
Based on this exposure, student will then clarify their personal music career goal and develop a plan to reach the
goal.

SF180 Major Instrument (Y1 Short Sem Ext)
SF181SF182 Major Instrument 12

All music majors are required to undertake performance study in one instrument or voice during studies in the
program. It is regarded as a basic building and consolidation period for the transition to the degree program. A
separate syllabus is available for each instrument offered, which provides details on suggested repertoire for each
level of study, technical and sight reading requirements, and jury examination requirements. In addition to weekly
related to their major instrument through scheduled and supervised recital performances in semester 2.
SF183SF184 Second Major Instrument 12

This applies to students who are taking double major during studies in the program. It is regarded as a basic building
and consolidation period for the transition to the degree program. A separate syllabus is available for each
instrument offered, which provides details on suggested repertoire for each level of study, technical and sight

reading requirements, and jury examination requirements. In addition to weekly individual lessons with an assigned
through scheduled and supervised recital performances in semester 2.
SF186 Major Instrument (Ext 1)

Students who wish to continue taking extra/extended major instrument study in long semesters after completing
SF182 Major Instrument 2 could choose to register for this subject.
SF191SF192 Minor Instrument 12

SF193 Minor Instrument (Ext 1)

Students who wish to continue taking extra/extended minor instrument study after completing SF192 Minor
SN051 Modern Band 1

The Modern Band series consists of four progressive levels that deal with diverse issues of ensemble performance.
Through lectures, listening sessions & guided band coaching MB 1 familiarizes the student with the functions of the
different band instruments, the different stylistic patterns & rhythms appropriate for each genre in the blues/rock
sphere, blues form & its variations, basic ensemble rehearsal techniques & how to prepare for a rehearsal session. It
also acquaints the student with important & salient repertoire in each of the genres studied. Lastly, at this level of
MB students are introduced to the concept of improvising & expressing themselves through soloing in an ensemble
setting.
SN052 Modern Band 2
Pre-requisite: SN051 Modern Band 1
Through lectures, listening sessions & guided band coaching MB 2 further explores the functions of the different
band instruments, the different stylistic patterns & rhythms appropriate for each genre in the blues/rock sphere, blues
form & its variations, basic ensemble rehearsal techniques & how to prepare for a rehearsal session. It also acquaints
the student with important & salient repertoire in each of the genres studied. Lastly, at this level of MB students
explore pentatonic soloing and learn how to improvise & express themselves through soloing in an ensemble setting.
SN053 Modern Band 3

Through lectures, listening sessions & guided band coaching MB 3 explores the functions of the different band
instruments, the different stylistic patterns & rhythms appropriate for each genre in the jazz/latin sphere, rhythm
changes & its variations, band arranging techniques, sound balancing & how to prepare for rehearsal sessions &
performances. It also acquaints the student with important & salient repertoire in each of the genres studied. Lastly,
at this level of MB students explore chord tone soloing & basic modal improvisation and learn how to express &
build their musical individuality through soloing in an ensemble setting.
SN054 Modern Band 4

Through lectures, listening sessions & guided band coaching MB 4 further explores the functions of the different
band instruments, the different stylistic patterns & rhythms appropriate for each genre in the jazz/latin sphere,
rhythm changes & its variations, band arranging techniques, sound balancing & how to prepare for rehearsal
sessions & performances. It also acquaints the student with important & salient repertoire in each of the genres
studied. Lastly, at this level of MB students explore modal improvisation and venture into free form improvisation
for a culmination of their ensemble studies.

SN081SN086Recital Attendance 16
All music majors are required to undertake 6 levels of Recital Attendances offered only in the long semesters of
Year 1-3. This module is designed to enhance students concert etiquette on-stage (performer) and off-stage
(audience), and to encourage student leadership and teamwork in a recital setting. Students are required to attend at
least 8 on-campus recitals per semester in order to fulfill each level of the Recital Attendance. Under the guidance of
lecturers, students will be able to apply knowledge gained from various subjects in a real-life performance setting
(stage management, audio setup, performance professionalism and so forth).
SN091SN096 Masterclass Attendance 16

All music majors are required to undertake 6 levels of Masterclass Attendances offered only in the long semesters of
Year 1-3. The Institute of Music invites several guest artists to conduct masterclasses each semester. These may
include any of the following activities such as presentation, workshop, lecture, seminar, discussion of performance
techniques and interpretation. Students are required to attend all masterclasses conducted each semester, including
the Institute of Music General Meeting. Failure to fulfill the Masterclass Attendance will result in an Unsatisfactory
(U) grade and student will need to repeat the course.
SN101 Music Theory 1

Pre-requisite: SF102 Music Theory Rudiments 2 or Institute of Music permission
Music Theory 14 is a series of courses designed to provide a thorough understanding of tonal music theory and an
introduction to twentieth-century music theory. Music Theory 1 is an initial study of the techniques and materials of
tonal music. Non-chord-tones, cadences, voice leading, three- and four- part writing, analysis of music consisting of
diatonic triads and seventh chords will be covered. Students will also be introduced to elementary analysis of phrase
structure and basic instrumentation.

Pre-requisite: SN101 Music Theory 1
The Music Theory sequence of subjects is designed to provide the students with a thorough understanding of
contemporary music theory from an analytical and practical perspective. The second course in the sequence, SN102
briefly reviews all diatonic materials in the major/minor system and introduces secondary functions, extended
dominants, related IIV, modal interchange & harmonic tensions. Through analysis projects and practical
applications the students explore these harmonic concepts and at the same time learn about lead sheet/score layout
and song form & structure.
SN121 Aural Skills 1

Pre-requisite: SF122 Musicianship Skills 2, SF132 Practical Skills 2 or Institute of Music permission
dictation skills is emphasized throughout the courses. In correspondence with Theory 1, Aural Skills 1 covers
materials found in purely diatonic settings.

Pre-requisite: SN121 Aural Skills 1, SN101 Music Theory 1
notation skills is emphasized throughout the courses. A continuation of Aural Skills 1, Aural Skills 2 expands the
scope of training to cover secondary functions and modal interchange.
SN141 Introduction to Popular Music History

Pre-requisite: None
This course chronicles the development of prominent styles of Popular Music from the early1900s up to the late
1990s, encompassing all styles within the genre domains of jazz and rock music. Through the study of recordings

and scores of works by prominent artists and composers the course outlines the stylistic characteristics of each style
covered.
SN151 World Music

Pre-requisite: None
This course exposes students to a variety of prominent folk or ethnic music cultures from different regions of the
world; engaging students into an ethno-musicological study of these music cultures.
SN152 Music and Film

Pre-requisite: None
Music and Film is concerned with knowledge and understanding of the union of the two component art forms of its
title. It is not a how to write film music course. The subject is approached from four distinct but interrelated
perspectives: historic, generic, stylistic and technical. These perspectives will embrace a range of topics including
the varied functional and historical role of music in film, the work of specific composers (e.g. Bernard Hermann),
and directors (e.g. Alfred Hitchcock), the technical aspects of scoring to film, as well as the revival of silent film
scoring. The course will also look at the cinematic work of contemporary Malaysian composers and directors.
SN161 Notation Software and MIDI

Pre-requisite: None
This is an introduction to MIDI (Musical Instrument Digital Interface) and music engraving software. It is designed
to give the student an understanding of MIDI systems and its functions for composing, copying, arranging and
studying music.
SN162 Music Technology 1

Pre-requisite: SN161 Notation Software and MIDI
This course provides students with an introductory knowledge of music technology and the physics of sound to
compliment the acquired practical skills required for the implementation of live sound reinforcement and recording
techniques for small and large ensembles.
SN180 Major Instrument (Y1 Short Sem Ext)

SN181SN182 Major Instrument 12

All music majors are required to undertake performance study in one instrument or voice in the first two years of the
degree program. The first year of study is regarded as a basic building and consolidation period. A separate syllabus
is available for each instrument offered, which provides details on suggested repertoire for each level/year of study,
technical and sight reading requirements, and jury examination requirements. In addition to weekly individual
SN183SN184 Second Major Instrument 12

This applies to students who are taking double major in the first two years of the degree program. The first year of
study is regarded as a basic building and consolidation period. A separate syllabus is available for each instrument
offered, which provides details on suggested repertoire for each level/year of study, technical and sight reading
requirements, and jury examination requirements. In addition to weekly individual lessons with an assigned
through scheduled and supervised recital performances.

SN185 Second Major Instrument (Y1 Short Sem Ext)
SN191SN192 Minor Instrument 12

SN193 Minor Instrument (Ext 1)

Students who wish to continue taking extra/extended minor instrument study after completing SN292 Minor
SN194 Minor Instrument (Ext 2)

Students who are taking two minor instruments and wish to continue taking extra/extended second minor instrument
study after completing SC292 Minor Instrument 4 could choose to register for this subject.

Pre-requisite SN102 Music Theory 2
contemporary music theory from an analytical and practical perspective. The third course in the sequence, SN201
introduces chromatic harmonies, substitute functions, diminished functions, chord-scale theory and modulation.
Through analysis & practical projects the students apply the concepts learned in a practical setting and by doing so
explore further into form, structure and melodic construction.

Pre-requisite SN201 Music Theory 3
contemporary music theory from an analytical and practical perspective. The last course in the sequence, SN202
introduces chromatic harmonies, substitute functions, diminished functions, chord-scale theory and modulation.
Through analysis & practical projects the students apply the concepts learned in a practical setting and by doing so
explore further into form, structure and melodic construction.
SN211 Composition and Arranging

This course deals with the principles of writing for small, medium and large ensembles in a contemporary setting.
Instrumentation, form, structure, spacing and textures are all covered in this subject.
SN212 Song Writing

In this course students will develop a sense of form, melody and harmony as well as band line development and
rhythm. They will be introduced to lyrics and will create projects in a variety of styles in lead sheet format.
SN213 Jingle Writing

Students will learn terminology, procedures, timing considerations, lyric writing and orchestration techniques for
creating a suitable product image. Students are also expected to work under tight time considerations to create spots
for hypothetical advertisements.

The Aural Skills module consists of a series of courses designed to train and develop aural dictation and sight-
singing skills through a systematic and progressive study of the melodic, harmonic and rhythmic elements
commonly used in contemporary repertoires. Through periodic drills, exercises and transcriptions the integration

between the dictation & practical aspects of this course with the harmonic & melodic concepts covered in the theory
module is further emphasized. Aural Skills 3 focuses on common jazz progressions & melodies of a chromatic
nature. Modulations are introduced at this level in harmonic dictations and melodic materials.

The Aural Skills module consists of a series of courses designed to train and develop aural dictation and sight-
singing skills through a systematic and progressive study of the melodic, harmonic and rhythmic elements
commonly used in contemporary repertoires. Through periodic drills, exercises and transcriptions the integration
between the dictation & practical aspects of this course with the harmonic & melodic concepts covered in the theory
module is further emphasized. Aural Skills 4 further explores contemporary harmony by introducing substitute
functions in progressions & melodies. Modulation to remote keys is explored in harmonies and melodies, and an
introduction to twentieth century materials is provided. Cross rhythms and odd meters are a fundamental part of this
course.
SN231 Improvisation Skills

Pre-requisite: SN221 Aural Skills 3
This course will explore the art of musical improvisation through theory, performance practice, recordings, and self-
assessments of strengths and weaknesses based on reflective self-critique.
SN241 Popular Music History 1

Pre-requisite: SN141 Introduction to Popular Music History
This course takes an introspective look at the historical development of popular music styles within the genre
domain of rock; outlining the stylistic characteristics of each definitive style through recordings and scores of
repertoire by prominent artists and composers as definitive representatives, outlining the stylistic characteristics of
each style covered in the course and exploring relationships and interactions between the socio-economic/socio-
political environment and popular music.
SN242 Popular Music History 2
Pre-requisite: SN141 Introduction to Popular Music History
This course takes an introspective look at the historical development of jazz styles; outlining the stylistic
characteristics of each definitive style through recordings and scores of repertoire by prominent artists and
composers as definitive representatives, outlining the stylistic characteristics of each style covered in the course
exploring relationships and interactions between the socio-economic/socio-political environment and popular music.
SN251 Contemporary Repertoire Studies

Through lectures, listening and analysis projects and assignments, and through guided band coaching, the students in
this subject will gain an in depth perspective and understanding on the contributions of the selected artist. Issues
explored will range from the stylistic characteristics, output periods, and discography of the composer to the
performance practices and musicological and extra musical matters pertinent to the repertoire in question.
SN262 Music Technology 2

Pre-requisite: SN162 Music Technology 1
This course provides students with fundamental skills that will equip them for the music recording industry through
practical lab work and assessments of major projects that involve the recording, editing, mixing and production of
music.
SN264 Music Industry in Malaysia

Pre-requisite: None
This course provides students with an overview & basic understanding of the music industry particularly in a
Malaysian context. Through readings, research and guided forum sessions the students are given an opportunity to
understand, examine & discuss current issues facing the industry. The course also deals with the formulation of
agreements and contracts used in the industry as well as copyright law, recording & publishing with particular
relevance to the Malaysian situation
SN271 Sequencing, Sampling and Synthesis

Pre-requisite: SN161 Notation Software and MIDI, SN262 Music Technology 2
This course is a lab-based course that requires students to compile portfolios of musical works that involve digital
sequencing, audio sampling and analog & digital synthesis. They will also be required to research and present on a
topic regarding music technology.

SN281SN282 Major Instrument 34

A continuation of Major Instrument 12, in the second year, students are expected to show development of greater
technical fluency and speed and to perform their pieces with greater authority and confidence. A separate syllabus is
available for each instrument offered, which provides details on suggested repertoire for each level/year of study,
technical and sight reading requirements, and jury examination requirements. In addition to weekly individual
SN283SN284 Second Major Instrument 34

A continuation of Second Major Instrument 12, in the second year, students are expected to show development of
greater technical fluency and speed and to perform their pieces with greater authority and confidence. A separate
syllabus is available for each instrument offered, which provides details on suggested repertoire for each level/year
of study, technical and sight reading requirements, and jury examination requirements. In addition to weekly
related to their major instrument through scheduled and supervised recital performances.
SN285 Second Major Instrument (Y2 Short Sem Ext)
SN291SN292 Minor Instrument 34

SN341 Music and Popular Culture

Pre-requisite: SN241 Popular Music History 1, SN242 Popular Music History 2
This is a primarily self-guided course where students acquire an understanding of standard academic practice in
developing an area of musical knowledge with potential further research. Students will then propose their thesis
statement, conduct their own independent research work and finally present a research seminar submitted with a
graduate thesis paper documenting their research.

SN381SN382 Final Year Performance 12

Pre-requisite: SN82 Major Instrument 4, SC243 Music Research Methodology
choose the performance option will be perform a concerto movement (or a work written for the instrument with
orchestral accompaniment) and a public solo recital program in the final year on their major instrument. They will
also write program notes for the music they perform. A separate syllabus is available for each instrument offered,
which provides details on suggested repertoire appropriate for this level and the jury/recital examination
requirements. In addition to weekly individual lessons with an assigned instructor, students will also be guided on

and gain exposure to concert practice related to their major instrument through scheduled and supervised recital
performances.
SN385SN386 Final Year Research Project 12

Pre-requisite: SN282 Major Instrument 4, SC243 Music Research Methodology
choose the research option will undertake a research project and produce a dissertation. This exact content of this
course depends on the nature of the individual projects themselves. All student taking this option should first plan
and make an informal proposal to the Course Coordinator towards the end of the semester immediately prior to the
start of the project. Depending on student numbers, the initial work of the course will be in the form of group
seminars covering a revision of basic research skills and the principles of project design. Following this, there will
be a sequence of individual tutorials that are largely responsive to the evolving circumstances of individual research
projects.
SN387 Final Year Research Project (Short Sem Ext)

Students who require more time and wish to continue extended studies on the Research Project during Year 3 short
semester could choose to register for this subject.
SN388 Final Year Research Project (Long Sem Ext)

Students who require more time and wish to continue extended studies on the Research Project after Year 3 could
choose to register for this subject.
SN389 Internship
Pre-requisite: Completion of 90% of the degree program
Students will complete a 14-week Internship with a company in the music or performing-arts related industry which
can offer a varied, practical and challenging learning experience. Such a company might be in any of the principal
sectors of the industry such as education (such as schools and music centers), recording, music production,
publishing, concert promotion, event organizing, etc. The Internship will be supervised by a sponsor from the host
company and an appointed music staff.
SN390 Second Major Final Year Performance (Short Sem Ext)

during Year 3 short semester could choose to register for this subject.
SN391 Final Year Performance (Long Sem Ext)

Students who require more time and wish to continue extended major study on the Performance project during Year
3 short semester could choose to register for this subject.
SN393 Second Major Final Year Performance (Long Sem Ext)

after Year 3 could choose to register for this subject.
4.5 Institute Policies and Procedures

4.5.1 Attendance Policy
UCSI University has an 80% attendance policy for all courses. In some cases, the lecturer may impose an even more
stringent attendance requirement. Failure to meet the minimum 80% attendance requirement will result in a warning
letter and the possibility of being barred from taking the final exam (or its equivalent, such as Final Project).

Attendance rules apply to approved and unapproved absences. Students who are absent due to illness will have to
present a copy of the medical certificate (MC) to the lesson/class instructor(s) for record purposes. Approved and
unapproved absences will be recorded in all classes and lessons by the respective instructors in charge. For students
who are taking part in external competitions/activities, if you are granted leave of absence by the Institute to
participate in the event/competition, the onus is still on you to give advance notice to your lecturers and to make up
for all the necessary course work missed.
Students are strongly advised not to miss classes as important information and concepts are often only covered once.
Students are advised to acquaint themselves with the schedule of test and exams which will be made available by the
lecturer at the commencement of each course.
4.5.2 Masterclass
Satisfactory completions of all levels are part of the requirements for completion of your program.
Attendance Policies
1) Masterclass will be offered only in the long semesters. Masterclass attendance is compulsory for students in the
Foundation and Degree Year 1, 2 and 3.
2) The IMus Briefing, which falls on the first Friday of every new semester, is compulsory for all IMus students.
This briefing is part of masterclass attendance. The Student Welfare Committee (January) and IMSA (May)
elections will take place during this briefing.
3) Only on-campus masterclasses which falls on the first until the last day of classes in each semester will be
accepted as part of the masterclass attendance
4) Students are to bring their masterclass attendance sheet and submit to the student helpers at the beginning of the
masterclass for to acquire lecturer-charges signature.
5) Failure to submit the attendance sheet during the masterclass will result in an Absent/ no attendance
although student was present for the whole of the masterclass session.
6) Students are allowed only 1 absence for the semester (with or without an MC).
7) 1 late + 1 absence will result in an Unsatisfactory (U) grade and student will need to repeat the course.
8) Students coming in late and less than 15 minutes will receive a late attendance. 2 late = 1 absence
9) Students coming in late and after 15 minutes past the commencement of the masterclass will receive and
Absent.
10) It is the students responsibility to safe keep the masterclass attendance sheet as the sheet will be collected after
the last masterclass of the semester for attendance marking purposes. (Please refer to the deadline on
noticeboard and IMSA towards the end of the semester)
11) Failure to submit the attendance sheet on a given deadline will result in a U grade and student will have to
repeat the course.
12) In any case if you lose your masterclass attendance sheet, you may request a new attendance sheet from the
IMus office BUT the past signatures will be forfeited as we do not keep an extra attendance list in the office.
[Suggestion: Take a snapshot of your attendance sheet each time after you obtain a signature for each
masterclass]
13) If you did not bring/ forgotten to bring the masterclass attendance sheet on the day of the masterclass, you are
allowed to collect a 2nd masterclass attendance sheet from the office. Each student is to submit ONLY TWO (2)
masterclass attendance sheet (stapled together) at the end of the semester for attendance marking purposes. A 3rd
masterclass attendance sheet will not be accepted. Kindly adhere to this practice.

Audition Process

SELECTION CRITERIA

1) Very well prepared and fluent performance
2) Participation in previous masterclass
3) Repertoire choices (e.g. The invited guest is a specialist of a
certain composer or for a variety instead of an all classical
Call for program/overlap in repertoire or composer)

Nominations/Audition 10 14 days before AUDITION

from lecturers Students will be notified by the audition committee
of audition date and venue
3-4 days BEFORE MASTERCLASS

MASTER
Shortlisted candidates will be announced

CLASS!!
4.5.3 Student Recitals

Satisfactory completion of all levels would be part of the requirements for completion of your program.
Attendance Policies
1) Recital attendance will be offered only in the long semesters. Recital attendance is compulsory for students in
the Foundation, Year 1, 2 and 3.
2) Students are required to attend 8 recitals held throughout the semester. (Only two [2] graduation recital
attendance are allowed as part of the requirement to fulfill the 8 recital attendance)
3) Only on-campus recitals which falls on the first until the last day of classes in each semester will be accepted as
part of the recital attendance
4) Students are to bring their recital attendance sheet and submit to the student helpers at the beginning of the
recital for to acquire lecturer-charges signature.
5) Failure to submit the attendance sheet during the recital will result in an Absent/ no attendance although
student was present for the whole of the recital.
6) Students coming in late and less than 15 minutes will receive a late attendance. 2 late = 1 absence
7) Students coming in late and after 15 minutes past the commencement of the recital will receive and Absent.
8) It is the students responsibility to safe keep the recital attendance sheet as the sheet will be collected at the end
of the semester for recital attendance marking purposes. (Please refer to the deadline on noticeboard and
IMSA towards the end of the semester)
9) Failure to submit this sheet on a given deadline will result in a U grade and student will have to repeat the
course.

10) In any case if you loose your recital attendance sheet, you may request a new attendance sheet from the IMus
office BUT the past signatures will be forfeited as we do not keep an extra attendance list in the office.
[Suggestion: Take a snapshot of your attendance sheet each time after you obtain a signature for each recital]
11) If you did not bring/ forgotten to bring the recital attendance sheet on the day of the recital, you are allowed to
collect a 2nd recital attendance sheet from the office. Each student is to submit ONLY TWO (2) recital
attendance sheet (stapled together) at the end of the semester for attendance marking purposes. A 3rd recital
attendance sheet will not be accepted. Kindly adhere to this practice.

Performance Policies
1) Students who wish to perform must obtain the signature of their lecturer / ensemble coach as proof that their
performance is of approved quality. Formal coaching is compulsory before one can perform on the stage.
2) The maximum time for a performance is 15 minutes.
3) All solo performances must be memorized. Band performances are advised to memorize your performance as
well.
4) Ensemble performance (Modern Band / CME) is allowed to a maximum of a quartet.
5) Priorities will be given to students who are performing for the first time in the semester.
6) Performing students must be present at the beginning of the recital and can only leave at the end of the recital.
7) It is the student/ bands responsibility to move equipment for their recitals to and from the recital hall.
Application for performing procedures:
Step 1: Student gets the recital application form from the Recital Application Form box.
Step 2: Student fills up the form and gets the signature of the supervising staff1, whom upon signing the application
form, hereby agrees and approves that the student is ready to perform in the recital2. Student submits the application
form to the event coordinator who signs the form as an acknowledgement of receiving the form.
Step 3: Event coordinator assigns the available dates. Students will be notified up to 2 weeks prior to the
performance date. If there are no more dates in the current semester, the performance can take place in the earliest
recital in the next semester. This will ensure that the student recital can start in week 2 of the following semester.
Step 4: Weekly student recital program will be prepared by a scholarship student and checked by the event
coordinator.
Step 5: Event coordinator to send a communiqu to UCSIU Communications to create awareness of our lunchtime
student recitals.
Concert Etiquette
Professionalism as a musician needs to be practiced early on in the career. It is an important part of a musicians
training. Good concert etiquette practices begin with being a good audience. It all starts by learning to appreciate the
music others make.
There are certain rules that you need to adhere to be able to enjoy a performance. It all boils down to one word:
Respect.
You as the audience, respect the performer(s) by adhering to the following rules:
For all recitals:

1. Make sure any beeping devices that you own (mobile phones, watch alarms) are turned off or switch to silent
mode.
1 Supervising staff means applied major lecturer, CME or Modern Band coach
2 This ensures the quality of the recital as a platform to showcase professional performances.

2. No flash photography.
3. Do not enter or leave the hall during a performance. Always wait until the end of a movement or an entire piece
to do so.
For classical recitals:
1. Do not talk or whisper when the performance is going on.
2. Refrain from eating chewing gum or trying to open the wrapper of a sweet during a performance.
3. Refrain from tapping your foot or humming along with the tune of the performance in a small venue.
For a contemporary recital: It depends on the occasion and type of concert / recital that you are attending.
You as the performer, respect your audience by adhering to the following rules:
For classical recitals:

1. Dress appropriately: No slippers, sandals, jeans, mini-skirts, and shorts.
Men: shirt, dress pants, tie and coat. If you are wearing black shoes make sure that you are wearing black
socks too.
Women: proper evening gown for night concerts, and for a noon recital knee-length cocktail dresses. (No
bareback, no exposure of cleavage, no slits that opens until above the knee)
2. Hairstyle is to be neat. Long hair should be tied up.
For a contemporary recital: While the dressing and stage etiquette for performers may vary depending on the nature
of the performance, please keep in mind that audience members are not exclusively made up of your friends.
1. Remember to perform for all audiences. Avoid looking and focusing only to one section of the venue.
2. Tuning and sound-check on stage during your performance slot should be kept to a minimum.
3. If humor is part of the performance (ex: Igudesman & Joo, Victor Borge etc.), it has to be a professionally
rehearsed routine.
Stage Crews:
Crews should dress in comfortable attire, usually all black with covered shoes / sneakers.
For all recitals:

A) Backstage
1. Make sure you know the arrangement of each performance before it starts.
2. Make sure the piano lid is open to its right height.
3. If the performer is memorizing the piece, please put the music stand down.
B) On-stage
Stage crew must be alert and watching the performance at ALL times in case an intervention is needed during the
performance (ex: loose scores, faulty connections, etc.)
For contemporary performance: Please make sure you have a confirmed setup (ensemble / solo) at least 3 days
before the performance. This is to make sure setup and stage arrangement will be a smooth process.
At the door (Ushers):

1. Be there at least 30 minutes before performance time. (15 minutes for student recital)
2. Make sure that you have the program of the recital with you.
3. Make sure that there is always one person outside of the hall to attend to latecomers. No entrances are allowed
when the performance is going on.
4. Be courteous.
5. Ushers in the hall, make sure that the latecomers are seated as quickly as possible when it is in between
movements / performers.
6. Remind audiences that are bringing in plastic bags into the hall to keep it in their bag or refrain from moving the
plastic bag too much.

4.5.4 Small Ensembles
Small Ensembles: Students must take their small ensemble courses (CME/MB) consecutively without any
lapses during the January and May semesters. This means that you must take and complete your small ensemble
courses in succession every long semester, with the exception if you fail the course, of which you will need to repeat
the failed course the following semester.

4.5.5 Large Ensembles
All music students are required to take large ensembles as core courses in their programs. The available large
ensembles include: Mixed Choir, Concert Choir, Chamber Choir, Womens Choir and Orchestra. Membership for
Concert Choir, Chamber Choir, Womens Choir and Orchestra are subject to auditions. The Institute of Music
reserves the right to decide on the membership of each ensemble, taking into account the results of the auditions, the
distribution of the required voices/instruments in each ensemble, the preference of the students, and other factors.
In each week, all large ensembles will meet for rehearsals and sectional practice, and the students are expected to
practice on their own.
Attendance is expected and mandatory at all rehearsals and performances. If you have a sudden illness or
emergency, please inform the conductor and leave a message. Unexcused absences in rehearsals and sectional
practices will result in lowered grades and/or dismissal from ensemble participation. Absence from any concert
performance will result in a failing grade.
Standard Operating Procedure - Choir

Institute of Music
UCSI University
Audition Announcement in Week 14

Person-in-charge: Choir Coordinator
Facebook
Notice Board
FYE Briefing
Student Handbook - Prior permission to attend audition.
Penalty - down half a letter grade
Audition Week (Week 1)

First three days of class
Choir coordinator to conduct all auditions
Choir list to be posted on Notice Board and announcement to be
made on Facebook within two working days after conclusion of
the auditions
List to be given to HOP, CA & all choir directors
Add/Drop Period (Week 2 & 3)
Head of Programs Course Administrator

Approve course selection based on All Choir Directors To separate the list in IIS system and print out
choir list Check on the choir list to inform for all choir directors
students to do add/drop of their
course selection if not correct
Attendance marking on the choir list
First Day after Add/Drop Period
Head of Programs
Approved all course selection
All Choir Directors

Check on the choir list: All Course Administrator
students not properly registered - Sorted all list in IIS system
stop from choir until sorted out
Attendance marking in IIS system

Standardization of Large Ensemble Attire
Standardization of Large Ensemble Attire

Male Female
Blazer Dress
2 Button Single Breasted Suit - plain black One piece long black flair dress in boat
and no pattern neck
Notch lapel Plain black belt is optional
Jetted pocket on each side and one square 3/4 sleeves covering elbow
pocket on top
All buttons must be black
Shirt
Plain black Kent collar long sleeve shirt
with black buttons **
Plain white Kent collar long sleeve shirt
with white buttons **
Pants
Long formal black pants
Belt
Former black leather belt with silver
buckle
Shoes Shoes
Black leather dress shoes Plain black round covered, maximum
height of 2 inches
Socks Stockings
Plain high ankle black socks Plain black (choir)
Sheer black (orchestra)
Scarf and Neck Tie: (Choir)

Every scarf and neck tie colour represents certain choir ensemble
Junior Choir: Navy Blue
Mixed Choir: Silver
Concert Choir: White
Chamber Choir: Maroon
Neck tie or bow tie: (Orchestra)
Colour will be decided by the Director of the Orchestra based on the project of the
year.
** Choir Director requested all choir male members to own 2 shirts in black and white.
Orchestra members will only need white shirt.
November 2016

Choir and Orchestra Attire
Female Dress: Front Back
Male Blazer: Front Back

4.5.6 Major and Minor Instrument Study
Music majors have the opportunity to study with specialists in various instruments (including voice). All lessons are
given on an individual (one-on-one) basis.
No student will be allowed to sign up for more than two major instruments or two minor instruments at any one
time.
The Institute of Music will assign an instrument instructor to students at the beginning of each semester. Most
applied music lessons are offered on an arranged time basis. Students are expected to contact the appropriate
instructor to arrange lesson times no later than the first week of classes each semester. Failure to do so may result in
forfeiting the privilege of applied study that semester. Missing lessons without prior notification and lack of
consistent progress may also result in the forfeiture of the privilege of applied study. Lessons missed by the applied
faculty will be made up at the mutual convenience of the pupil and the teacher.
Each student is entitled to thirteen one-hour individual lessons for the major instrument and half-hour individual
lessons for the minor instrument during the semester. Missing individual lessons without proof of medical certificate
will not be replaced.
All students taking major instrument should consult the appropriate Major Instrument Syllabus, which states clearly
the requirements for the particular instrument.
Additional policies on instrument studies:

All students who wish to make changes in their major or minor instrument study are required to inform the
music office during the course selection period at the end of each semester. No requests of change will be
allowed after the course selection period. This policy is to avoid confusion and problems in the studio
assigning procedure. It is therefore understood that the course add/drop deadline indicated in the University
Sessional Calendar does not apply to the major and minor instrument study. In other words, we do not
allow any add/drop of major and minor instrument after the course selection period.
We advise all music students who are currently enrolled in the UCSI University music programs to take
priority in their applied study here at the University. Students are not encouraged to take up extra/double
lesson from any external teacher as this will create extra workload and confusion in the event that different
teachers have different expectation from the students.
All music students who are registered for Major and Minor Instrument Study are required to take up their
lessons within the University. Arrangements of lessons with individual instructors outside the University
will not be allowed except with special permission from the Director of the Institute.
All non-registered instrument and voice lessons are not allowed to take place in the University without
prior approval from the Director of the Institute.
All music students who are currently enrolled in the UCSI University music programs are not allowed to
arrange any private lessons with the existing full-time or part-time music lecturers. This policy, however,
does not apply to students who have already graduated and left the University after completion of their
study.
No supplementary examination is allowed for the major and minor instrument study.
4.5.7 Extended Studies in Major and Minor Instruments

Students who wish to continue receiving major/minor instrumental lessons during the short semester are required to
indicate this clearly during the course selection. This will involve a charge of additional tuition fee according to the
number of credit hours registered.
All students who wish to make changes in their major or minor instrument study are required to inform the music
office during the course selection period at the end of each semester. No requests of change will be allowed after the
course selection period. This policy is to avoid confusion and problems in the studio assigning procedure. It is
therefore understood that the course add/drop deadline indicated in the University Sessional Calendar does not apply

to the major and minor instrument study, including the Extension Study. In other words, we do not allow any
add/drop of Extension Study for major and minor instrument after the course selection period.
All extended studies in Major or Minor Instruments would be registered and graded S/U in a separate transcript, as
the result does not affect or count towards the calculation of CGPA.
Extended Studies for Major Instruments

Foundation:
Long semesters, after completing level 2: SF186/187 (pay fee for 4 credit hours)
Degree Program Years 1 & 2:

Long semesters (1, 2, 3, 4)no extension possible
Short semester:
o 1st year: SC/SN/SF 180/185 (pay fee for 2 credit hours)
o 2nd year: SC/SN 280/285 (pay fee for 2 credit hours)
Degree Program Year 3: After Major Instrument 4, students must choose only 1 track for the Final Year Project,
either Performance or Research. We recognize that some students may require or desire more time to work on the
Performance or Research Project, and thus allow extended studies for both Major Instrument (i.e. Performance) and
Research Project in Year 3, as follows:
To extend Performance or Major Instrument studies:
o Long semester: SC/SN391/393 (pay fee for 4 credit hours)
o Short semester: SC/SN380/390 (pay fee for 2 credit hours)
To extend Research Project:
o Long semester: SC/SN388 (pay fee for 4 credit hours)
o Short semester: SC/SN387 (pay fee for 2 credit hours)
Extended Studies for Minor Instruments

All regular Minor Instrument studies will be 2 credit hours, whether in the long or short semester.
In the Foundation program, two semesters of studies are required (SF 191 and 192). Students who wish to extend
studies beyond the required two semesters or take an additional minor instrument will sign up SF 193 for the first
minor instrument and SF 194 for the second.
In the degree programs, minor instruments are elective subjects, and students may count a maximum of four
semesters of minor instrument studies towards graduation (SC/SN 191, 192, 291 and 292). All other extended or
additional studies do not count towards graduation. The codes for extended studies are SC/SN 193 and 194.
Students who wish to extend Minor Instrument studies to 1-hour weekly lessons (applicable only in the long
semesters) must first secure the approval from your HoP. As this is twice the length of the normal study, the fee
payable would be twice the normal fee for this subject.
4.5.8 Major/Minor Instrument Lesson Record Sheet

To help individual students and instructors keep track of major and minor lesson records, the Institute of Music has
the following procedure in place:
1. Each student will be asked to keep a lesson record sheet (one sheet for each instrument, whether major or
minor study), which you will bring to each lesson.
2. After each lesson, you will need to have the details of the lesson (date, time, duration) filled in and then ask
for your instructors signature.

3. At the end of each semester, when all the lessons are completed, you will be required to submit the
completed form to Music Office for record keeping.
With this procedure and paperwork, both instructors and students will be very clear about how many lessons have
taken place throughout the semester.
The forms can be collected from the Music Office. If you have further questions, please ask your respective HoP.

4.5.9 Jury Examinations and Graduation Recital/Performance/Project
This applies only to major instrument study, Please consult the appropriate Major Instrument Syllabus for jury exam
requirements.
Sign-up procedures:
Students will need to fill in jury exam or Graduation Recital/Performance/Project forms, list the repertoire
to be performed, and secure the instructors signature.
Submit all exam materials (jury exam or Graduation Recital/Performance/Project forms, scores, program
notes, etc.) to the school administrator by placing them in the allocated spot in the music office. Failure to
do so may result in the student not given the permission to do the Jury.
Deadline for submission of all jury exam materials: 2 weeks before the jury exam week or the recital date,
whichever comes first.
The jury exam and Graduation Recital/Performance/Project schedule will be confirmed and posted on the Institute
of Music notice board in the last week of the semester.
Additional policies for Graduation Recital/Performance:

All Graduation Recitals/Performances are open to the public. Students are responsible to inform their
lecturers, friends and the general public concerning the event. Notices should be posted at the permitted
places at the University at least one week in advance.
Students are responsible for preparing and printing their own recital programs, including the program notes,
to be distributed to the audience during the recital. The printed program must include specific
information/wordings; these will be made clear during the Program Note Workshop.
Each graduation recital project will be evaluated by a jury panel of music faculty members. A written
critique and a grade will be given for each graduation recital or project.
4.5.10 Repeat of Graduation Recital/Performance

Should students fail in the Graduation Recital/Project, they are allowed to repeat up to a maximum of two more
times within a two-year period after their final semester of major applied instrument study in the program, subject to
the statute of limitation for the program.
4.5.11 Program Note Workshop

Students who register for SC/SN381-382 Final Year Performance are required to attend the Program Notes
Workshop. The workshop will cover overview, research, and advice on how to write program notes. A series of
workshops will be held during the semester and dates will be announced at the beginning of the semester. Students
will need to hand in their finalized program notes at the end of Week 11.
4.5.12 Use of Handphone and Laptop Computers during Class

The use of handphone and laptop computers (for purposes not related to that class, e.g. email and Facebook) is
strictly prohibited during lectures and instrumental lessons as this interrupts the progress of the class. If you need to
take notes using your laptop, please check with your respective lecturers and appropriate class policies.

4.5.13 Plagiarism Policy
Any form of homework, assignments and papers that a student submits is an important integral part of the learning
process at UCSI University. The students subsequent grades will therefore be a reflection of the students work. If
any part of the students work that carries a formal grade is taken from an unacknowledged source other from his or
her own, then fraud will be considered as part of their work.
Plagiarism (plagiarize) is to steal and pass off (the ideas or words of another) as ones own or to use anothers
production without crediting the source in which literary theft is committed.
Strategies for Avoiding Plagiarism

Put in quotations everything that comes directly from the text especially when taking notes.
Paraphrase, but be sure you are not just rearranging or replacing a few words. Instead, read over what you
want to paraphrase carefully; cover up the text with your hand, or close the text so you can't see any of it
(and so aren't tempted to use the text as a "guide"). Write out the idea in your own words without peeking.
Check your paraphrase against the original text to be sure you have not accidentally used the same phrases
or words, and that the information is accurate.
Glossary:
Quotation: using someone's words. When you quote, place the passage you are using in quotation
marks, and document the source according to a standard documentation style.
Paraphrase: using someone's ideas, but putting them in your own words. This is probably the skill you
will use most when incorporating sources into your writing. Although you use your own words to
paraphrase, you must still acknowledge the source of the information.
4.5.14 Music Score

All music students are required to purchase their own music scores for their major and minor instrument lessons.
Photocopies of music are strictly discouraged.
Selected music scores by various composers are available in the library for reference only.
During the final exam or graduation recital/performance, students are required to present the original copies of their
pieces to the jury panel. In cases where the use of score is allowed in the exam, you may perform using the original
score and provide a photocopy of the same for the examiners reference. Failure to bring original scores to the exam
will result in the performance being disqualified.
4.5.15 Music Listening

The Value of Music Listening: Listening to music performances is an integral part of the development of all music
students. There is much to be learned from listening to a variety of music presented in a variety of mediums.
(Pianists should listen to vocal and orchestral music, singers should listen to wind instruments, classical music
students should listen to jazz music, and so on). Never miss an opportunity to hear performances of literature for
your principal applied instrument.
Listening Opportunities: Music students are expected to take advantage of the excellent opportunities to attend
concerts, recitals, and lectures given by student ensembles, faculty ensembles, solo performers, and guest artists.
Listening facilities and music tapes and CDs are also available in our library. Students are encouraged to make good
use of these materials to widen their knowledge of musical repertoire.
4.5.16 Consultation
Students who have problems relating to their courses should see the lecturer in charge of the subject during their
consultation hours, which are clearly posted outside the Music Office.

For further enquiries concerning policies, requirements and unsolved problems, please refer to the HoPs or the
Director of the Institute.
4.6 Program Quality Assurance and Enhancement

Program Review Committee
This committee is formed by 8 student representatives elected from Foundation, Years 1, 2 and 3 in both Classical
and Contemporary Music programs. The committee serves as a communication channel between the school and the
students to review issues related to our programs and operations. Typically, the Institute of Music holds an annual
program review meeting to gather feedback from student representatives about our programs, facilities and courses
in general. Curriculum review meetings are then held separately according to programs (Foundation, Classical
Degree and Contemporary Degree) to review the subjects in detail.
5. University Policies & Procedures

5.1 About Examination System
Attendance Policy
UCSI University policy requires students to fulfill 80% attendance for all courses. Failure to meet the minimum
80% attendance requirement will result in receiving a warning letter and being barred from taking the final exam or
final project. For large ensembles, failure to attend the final concert performance will also result in a failing grade.
Supplementary Examination
The supplementary examination provides a second and final attempt for students who failed marginally to pass the
course. Students who scored between 40-48% are eligible to take supplementary examination. No supplementary
exam is given for project-based and practical-based music subjects.
Non-Performance
Students who are found constantly absent or not doing well in class may be reported by your instructors as non-
performance cases. These will be brought to the attention of your respective Head of Program. Repeat offenders or
severe cases may result in receiving a warning letter from the University.
GPA and CGPA

For information on grading system at UCSI University, please refer to Student Handbook (Procedure & Guideline)
for Undergraduate Programmes 2014 (p. 57).
5.2 Transfer of Programme

For information on the procedure of a programme transfer, please refer to Student Handbook (Procedure &
Guideline) for Undergraduate Programmes 2015 (p. 18).
6. Institute of Music Facilities

6.1 List of Facilities

Listed below are our Major Physical Facilities in South Wing & North Wing:
No Hardware
1 Pianos:
11 grand (inclusive of 1 Steinway and 2 Boston)
and 47 upright pianos
2 Room Facilities:
9 teaching studios
4 lecture rooms
30 practice rooms
3 band rooms
2 drum kit rooms
1 Music Technology Lab
1 Keyboard Lab
6.2 Access

6.2.1 Music Office
The Music Office is a restricted area for staff members to do their work. As such, students are not allowed to loiter
around the Music Office or put their belongings in the Music Office.
Office hours are from 9:00 a.m. to 6:00 p.m. from Monday to Friday.
6.2.2 Practice Rooms

Opening Hours:
Monday to Friday: 8.00am to 10.00pm
Saturday: 8.00am to 4.00pm
Sunday: 8.30am to 2.30pm
Public Holiday: closed
Practice room policies:
The Institute of Music practice rooms are open to all music staff and students only. Non-music staff and
students are not allowed to use these facilities.
Food & drinks must not be taken into the practice room. Exception: you may bring in bottled water (no soft
drink) and it must be left on the floor or inside your bags. No water bottle should be placed on the piano.
The piano heaters must be switched on all the time. Do not switch off the power or unplug the electrical
socket. Please do not unplug the piano heaters so that you could use the power socket for your personal use
(e.g. to re-charge your mobile phone).
Beware of theft and take care of your personal belongings. In case of theft, please inform the security office
immediately.
Please switch off the lights after use.
6.2.3 Recital Hall, Ensemble Room, Lecture Classrooms and Teaching Studios
Recital Hall and Ensemble Room policies:
These venues are strictly used for performance and ensemble-coaching only (Modern Band in Recital Hall;
Chamber Music Ensemble in Recital Hall/Ensemble Room). Students are not allowed to use these pianos
for practice.
No food & drinks are allowed into these venues except bottled water.

Lecture Classrooms and Teaching Studios policies:
Due to the heavy usage of the pianos in the lecture rooms and teaching studios, students are not allowed to
use these pianos for practice.
No food & drinks are allowed into these rooms except bottled water.
6.2.4 Borrowing of Instrument or Equipment

Students who wish to check out or borrow any instrument, equipment or key from the Music Office are required to
sign in the record book provided, and leave their student ID with the Music Office administrator. All items borrowed
must to be returned on the same day.
6.2.5 Booking Music Facilities

Students who wish to make use of the Institutes facilities including room and/or equipment are required to fill in the
Venue/Equipment Booking Form and submit it to the Director of the Institute/HoP for approval at least 48 hours
ahead of time. The form will need to be signed by the course lecturer if the borrowing is related to course work.
Students who borrow the equipment are responsible to return them to the original place and in good order after use.
Students who book the Institute venue are responsible for the loss or damage of equipment/instrument placed at the
venue. No outsiders (non-music students) are allowed to use the Institute facilities/venue without prior approval.
Should any outsiders or non-music students be invited into the Institute to assist in practice session or other events,
their names should be submitted together with the Facility/Venue Booking form.
6.3 Music Technology Lab

The Music Technology Lab is only used for classes, students self-practice, projects and assignments. Except for
those who are registered for MIDI and music technology classes, no other students or outsiders are allowed to use
the Music Technology Lab without prior approval. Users are not allowed to use the installed CD burner to produce
pirated copies. Anyone who is caught in producing pirated copies in the Music Technology Lab may face charges in
the court and is responsible for any penalty imposed.
7. Institute of Music Student Services

7.1 Institute of Music Student Association (IMSA)
The IMSA organizes several activities throughout the academic year, these ranges from screening of movies to
organization of concerts and participation on school, faculty and university events. Students can credit points to their
ECA account by participating in these activities, and the number of credits awarded varies depending on the level of
involvement by the student (attendee, performer, organizing committee, etc) and by the scope of the activity
(faculty, university, inter-varsity, national or international level). Students in the school of music may also initiate
activities to be undertaken by the IMSA by drafting an event proposal and approaching any of the IMSA organizing
committee members.

7.2 Student Welfare Committee

The Student Welfare committee (SWc) is represented by students from each year of both the Classical and
Contemporary programs. The SWc meets five times a year and represents the Institute in the Student Welfare
Council. The SWc serves as a communication channel between the students of the Institute and the University to
review issues related to Institute policies, university facilities and other concerns that can help improve the quality of
services and facilities for the student community within the university.


IMus Program Handbook 2017 January (Updated Dec 2016)

Diunggah oleh

Informasi Dokumen

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

IMus Program Handbook 2017 January (Updated Dec 2016)

Diunggah oleh

Hak Cipta:

Format Tersedia

PROGRAM

2. UCSI University, IMus Vision and

MISSION (revised version 2012)

To be the leading music institute in the region

Institute of Music Program Handbook, 2017 Page 1

1. To produce leaders and competent practitioners for the music profession

3. Institute of Music Organizational Chart

Deputy Vice Chancellor

Sr. Course Administrator Director Course Administrator

Head of Programme Head of Programme Head of Programme Head of Programme

Last update: 22 Aug 2016

3.2 Staff List

Full Time Staff

Institute of Music Program Handbook, 2017 Page 2

Institute of Music Program Handbook, 2017 Page 3

Institute of Music Program Handbook, 2017 Page 4

By the completion of this program:

By the completion of this program:

Bachelor of Contemporary Music (Honours)

Institute of Music Program Handbook, 2017 Page 5

By the completion of this program:

4.2 Admission and Language Requirements

Institute of Music Program Handbook, 2017 Page 6

4.3 Program Structure

Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

Institute of Music Program Handbook, 2017 Page 7

Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

* Major Instrument is a music core subject; Minor Instrument is an elective subject

Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

Institute of Music Program Handbook, 2017 Page 8

Bachelor of Contemporary Music (Honours)

Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

Institute of Music Program Handbook, 2017 Page 9

* Major Instrument is a music core subject; Minor Instrument is an elective subject

Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

* Major Instrument is a music core subject; Minor Instrument is an elective subject

Semester 1 (Long) Semester 2 (Long) Semester 3 (Short)

Institute of Music Program Handbook, 2017 Page 10

4.4 Course Selection

Institute of Music Program Handbook, 2017 Page 11

Course codes Year of study

Course types No. of credits

Program Minimum Maximum

Institute of Music Program Handbook, 2017 Page 12

Institute of Music Program Handbook, 2017 Page 13

FOUNDATION IN MUSIC COURSES OFFERED FOR YEAR 2016-18

FOUNDATION IN MUSIC PROGRAM

Institute of Music Program Handbook, 2017 Page 14

CLASSICAL MUSIC DEPARTMENT

Institute of Music Program Handbook, 2017 Page 15

CONTEMPORARY MUSIC DEPARTMENT

Institute of Music Program Handbook, 2017 Page 16

ECA200 Extra-Curricular Learning Experience 2

ECA300 Extra-Curricular Learning Experience 3

LL101 University Life

SE120 University Reading and Writing

SC051SC054 Chamber Music Ensemble 14

Institute of Music Program Handbook, 2017 Page 17

SC081SC086 Recital Attendance 16

SC091SC096 Masterclass Attendance 16

SC101 Music Theory 1

SC102 Music Theory 2

SC121 Aural Skills 1

SC122 Aural Skills 2