2011 Course Profile

GENMUS 1003 MUSICS OF THE WORLD I

1.
1.1

GENERAL COURSE INFORMATION

COURSE DETAILS

Coordinating Unit: Teaching Period: Mode: Level: Units: Contact: Prerequisites: Course Description:

Elder Conservatorium of Music Semester Two Internal I 3 3 hours of lectures per week None

This course offers an introduction to a select range of music from different culture areas of the world. There will be no attempt in this course to survey all of the world's music. Rather, our central concern will be to develop a culture-based approach to understanding music. In this respect the course will frequently borrow perspectives from ethnomusicology, a scholarly discipline which in various ways regards music either in or as culture. The cultural contexts considered in the course will range from small isolated communities to highly urbanised and cosmopolitan societies. The types of music genres and performance contexts covered will range from traditional forms of musicmaking (such as those associated with religious or court ceremonies) to contemporary forms of 'world music'; from performance traditions which are regarded as ancient and inviolate, to those which are self-consciously hybrid in nature. One aim of the course is to develop an appreciation for both the culturally distinct and humanly universal aspects of music making.

1.2

COURSE STAFF
Steven Knopoff Email: steven.knopoff@adelaide.edu.au Office: Schulz 920; telephone: 8303-3726 Office hours: Thursday 1:00-2:00 or by appointment Hartley Building, ground floor (HG.05), telephone: 8303 5995

Coordinators Details: Coordinator's Contact Details: Music office location:

1.3

COURSE TIMETABLE
Semester Two Tuesday, 9-11am and Thursday, 12-1pm Lecture Schulz 1004 (enter from east end of Level 10 Schulz Bldg)

Teaching Period: Timetable & Location of Teaching Activities

The full timetable of all activities for this course can be accessed from the Course Planner at http://access.adelaide.edu.au/courses/search.asp?year=2011

2.
2.1

LEARNING OBJECTIVES
COURSE LEARNING OBJECTIVES

The objectives of this course are to develop the following: 1. Understanding and appreciation of the wide range of cultural and stylistic diversity which may be evidenced in different traditional and contemporary music-cultural settings. 2. Aural familiarity with music of a select number of music cultures. 3. Development of aural awareness and critical listening skills through assigned- and in-class listening. 4. Development of music research skills and confidence in written communication.

2.2

UNIVERSITY GRADUATE ATTRIBUTE(S) COURSE LEARNING OBJECTIVE(S)

1, 2, 3

This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:

UNIVERSITY GRADUATE ATTRIBUTE

Knowledge and understanding of the content and techniques of a chosen discipline at advanced levels that are internationally recognised. The ability to locate, analyse, evaluate and synthesise information from a wide variety of sources in a planned and timely manner. An ability to apply effective, creative and innovative solutions, both independently and cooperatively, to current and future problems. A proficiency in the appropriate use of contemporary technologies. A commitment to continuous learning and the capacity to maintain intellectual curiosity throughout life. A commitment to the highest standards of professional endeavour and the ability to take a leadership role in the community.

1, 2, 3, 4

1, 2, 4

2, 3, 4 1, 2, 3, 4 1, 2, 3, 4

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3.
3.1

LEARNING RESOURCES
REQUIRED RESOURCES
ASSIGNED READING AND LISTENING Musics of the World involves weekly assigned readings. Each assigned reading should be read before the applicable lectures as indicated in the course profile. The entire set of readings, entitled Musics of the World I: Course Readings may be purchased at the Image and Copy Centre (Hughes Building Level 1). An additional is available for short-term loan at the reserve desk of the Elder Music Library. There are also recorded examples of music associated with each week's lecture topic/s. A total of 28 recorded items, together with some brief information about the recordings, are available from the reserve desk of the Elder Music Library under the title Musics of the World: Assigned Listening. As part of revising for exams, students should ensure that they are familiar with these recordings. IN-CLASS HANDOUTS A small number of handouts with additional information will be distributed during the course in order to support the lecture and reading content of particular topics IMPORTANT ADDITIONAL MATERIAL CONTAINED IN THIS COURSE PROFILE Some of the material that you are required to know for this course may be found on pp. 5-7 of this course profile. This material, which will be referred to in some of our lectures, includes the following: Musical Instruments for Study (p. 5) Guide for Critical Listening (p. 6) 'Four Components of a Musical Culture' (p. 7)

3.2

ONLINE LEARNING

Course documents, including the Course Profile, in-class handouts, assigned listening and additional listening items, assignments and other information.

3.3

ADDITIONAL RESOURCES

Oxford Music Online is a portal that enables searching in Grove Music Online and other Oxford reference content in the one location. Students can access Oxford Music Online which houses Grove music online through the link on the Elder Music Library website at: http://www.adelaide.edu.au/library/about/libraries/eml/internet_resources/ Grove music online [electronic resource] can also be located as a title search through the library catalogue.

For further additional resources, please see next page...

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ADDITIONAL RESOURCES, continued

MUSIC REFERENCE BOOKS Broughton, Simon, et al, eds. World Music: The Rough Guide. London: The Rough Guides. 1994. Nettl, Bruno and Ruth Stone, advisory eds. The Garland Encyclopedia of World Music. 10 vols. New York: Garland Publishing. 1998. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians, second ed. 29 vols. London: MacMillan Publishers. 2001. [Note: The New Grove Dictionary is also available on line from any University of Adelaide computer terminal. Access the Dictionary via the Elder Music Library website < http://www.adelaide.edu.au/library/branch/eml/internet_resources/new_grove.html> TEXT BOOKS 1. Texts Comprising Surveys of Traditional and/or Contemporary World Musics Marre, Jeremy, and Hannah Charlton. Beats of the Heart: Popular Music of the World. London: Pluto Press. 1985. May, Elizabeth, ed. Musics of Many Cultures. Berkeley: University of California Press. 1980. Nettl, Bruno, et al. Excursions in World Music. Englewood Cliffs, NJ: Prentice Hall. 1992. Shelemay, Kay K. Soundscapes: Exploring Music in a Changing World. New York: W W Norton. 2001. Taylor, Timothy D. Global Pop: World Musics, World Markets. London: Routledge. 1997. Titon, Jeff T., et al, eds. Worlds of Music: An Introduction to the Music of the World's Peoples, second ed. New York: Schirmer Books. 1992. 2. Ethnomusicology Texts (introductory readings on the ethnomusicological discipline) Hood, Mantle. The Ethnomusicologist. 2nd ed. Kent, Ohio: Kent State University Press. 1982. Merriam, Alan P. The Anthropology of Music. Evanston, Illinois: Northwestern University Press, 1964. Myers, Helen. Ethnomusicology: An Introduction. New York and London: W. W. Norton, 1992. Nettl, Bruno. The Study of Ethnomusicology: Twenty-Nine Issues and Concepts. Urbana: University of Illinois Press, 1983. Nettl, Bruno & Bohlman, Philip V. (eds). Comparative Musicology and Anthropology of Music. Chicago: University of Chicago Press, 1991. JOURNALS Asian Music Ethnomusicology Journal of the Indian Musicological Society Musica Asiatica Musicology Australia Perfect Beat Popular Music Yearbook for Traditional Music (formerly the Journal of the International Folk Music Council, then the Yearbook of the International Folk Music Council) AUDIO VISUAL MATERIALS The Elder Music Library has a good variety of CDs, as well as some videocassettes and DVDs, pertaining to traditional and contemporary world music. These include the following two reserve items, each of which comprises a large set of videorecordings. JVC Video Anthology of World Music and Dance. 30-volume set of videorecordings. Osaka: JVC in collaboration with the National Museum of Ethnology. 1989. JVC/Smithsonian Folkways Video Anthology of World Music and Dance of the... 6-volume set of videorecordings. Montpelier, VT : Multicultural Media [distributor]. 1995. Beats of the Heart. 13-volume set of videorecordings. England(?): Shanachie. 1992. [Note: The title of each of these 13 videorecordings corresponds to one of the 13 chapter titles in Jeremy Marre's and Hannah Charlton's book Beats of the Heart. In order to find all 13 titles in the online library catalogue, do a keyword search using "beats and videorecording" as the keywords.]
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MUSICAL INSTRUMENTS FOR STUDY

Ghana (Asante/Ashanti) atumpan dawuro donno kwadum

Afro-Latin music (of Cuba, Puerto Rico, and U.S.A.) cencerro claves conga maracas timbales

Indigenous Australia (Yolngu) bilma yidaki

Japan koto shakuhachi shamisen taiko

Vietnam dan bau dan tranh so

India sitar veena (vina) tabla mridangam harmonium

Tex-Mex (or Tejano) music (of Mexico/U.S.A.) accordion bajo sexto guitarron

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GUIDE FOR CRITICAL LISTENING

A. Sound Components: Voice / Instruments / Other Organisation: Vocal Organisation: Singers: Solo / leader Chorus Male / female / mixed group Unaccompanied Accompanied -- rhythmic / melodic / drone Text: Dominant / secondary / vocables Narrative / strophic / verse+refrain Instrument Organisation (Major Organological Categories): Cordophones Musical Bows Lutes Zithers Harps Lyres Aerophones Idiophones Membranophones Organisation of Instrumental Performance: Solo Ensemble -- types C. Rhythm: Pulse+metre / pulse / 'free' rhythm Tempo -- slow / fast / variable Relationship within group Relationship between solo / leader and other members D. Melody: Phrase: Pitch: Treatment of text: Embellishment: Volume: Melodic setting: length, shape, use of breath range, register, interval width syllabic / melismatic vibrato, tremolo, portamento, trills, etc. loud / soft / accents / variable / steady monophonic / homophonic / polyphonic / heterophonic / use of drone

B.

E.

Form: Through-composed / Strophic / Binary / Ternary / Other

F.

Timbre (Colour): Vocal: nasal / chest / tight-throated / open-throated Instrumental: plucked / blown (pure tone/breathy tone/buzzy tone) / percussive

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FOUR COMPONENTS OF A MUSIC CULTURE

(From J. T. Titon, ed., Worlds of Music, second ed. New York: Schirmer Books, 1992. p. 6.)

I.

Ideas about music A. Music and the belief system B. Aesthetics of music C. Contexts of music D. History of music Social Organisation of music Repertoires of music A. Style B. Genres C. Texts D. Composition E. Transmission F. Movement Material culture of music

II. III.

IV.

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4.
4.1

TEACHING & LEARNING ACTIVITIES

TEACHING & LEARNING MODES

Lectures will address the information and aims set out in the Course Description. There are no tutorials for this course; however lectures will include opportunities for questions/answers and limited open discussion. The lectures will also involve playback of audio and video examples. The in-class audio-visual material is a key component of the course content, the consumption and understanding of which is as important as for the spoken portion of the lecture and the readings.

4.2

WORKLOAD

The information below is provided as a guide to assist students in engaging appropriately with the course requirements. In addition to the 3 contact hours per week, it is anticipated that students would spend 6-8 hours per week in reviewing lecture notes, preparing the assigned readings and assigned listening, undertaking suggested readings and listening, revising for exams, and researching and writing the course essay.

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4.3

LEARNING ACTIVITIES SUMMARY

LECTURE DATES, TOPICS, ASSIGNED READINGS and LISTENING

All assigned readings listed below may be found in the Course Reader, which is available for purchase from Image and Copy Centre. An additional copy of the Course Reader is on reserve at the Elder Music Library. Week 1 Reading: Introduction to the Course; Understanding 'Music in Culture'; Basic Music Terminology Course Reading #1 Slobin, M. and Titon, J. T. Components of a Music Culture. Excerpts from "The Music Culture as a World of Music." In J. T. Titon, ed., Worlds of Music, second ed. New York: Schirmer Books, 1992. pp. 6 (bottom)-13 (top). No assigned listening.

Listening:

Lecture Dates/Topics: 26 July Introduction to the Course; Understanding Music in Culture; Basic Music Terminology 28 July Special Presentation - A Global Journey through Musics of the World. Guest-Presenter: Tal Kravitz

Week 2 Reading:

Classification of Musical Instruments; Traditional Music of Ghana Course Reading #2 Wachsmann, Klaus/Margaret J. Kartomi, and Kartomi, Margaret J. Excerpts from "Classification of Musical Instruments." In Stanley Sadie, ed. The New Grove Dictionary of Music and Musicians, second ed. London: Macmillan Publishers, 2001. pp. 418-420. Course Reading #3 Koetting, J. T. "Africa/Ghana." In J. T. Titon, ed., Worlds of Music, second ed. New York: Schirmer Books, 1992. pp. 67-71 (top), 85 (bottom)-94, 97 (bottom)-103.

Listening:

Items #1-3

Lecture Dates/Topics: 2 August An Introduction to Classification of Musical Instruments 4 August Traditional Music of Ghana

Week 3 Reading:

Africa and 'World Music', Contemporary African Music in Adelaide Course Reading #4 Gillett, Charles. 1998. "World Music Prophets." Developments Issue 4, 1 December. <http://www.developments.org.uk/articles/world-music-prophets/> (Accessed 21 July 2008) Course Reading #5 Impey, Angela. Excerpts from "Popular Music in Africa." In Ruth M. Stone, ed. The Garland Encyclopedia of World Music, Vol. 1. 415-423 (top); 428-435 (top).

Listening:

Items #4-6

Lecture Dates/Topics: 9 August Traditional Music in Ghana (continued); Africa and 'World Music' 11 August West African Music Influence and Performance in AdelaideGuest Presenter: Ebenezer Allotey

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Week 4 Reading:

Afro-Latin Popular Music Course Reading #6 Marre, Jeremy and Hannah Charlton. "Salsa! The Latin Music of New York and Puerto Rico." In Beats of the Heart: Popular Music of the World. London: Pluto Press, 1985. 70-83. Course Reading #7 Steward, Sue. "Introduction." In Salsa: Musical Heartbeat of Latin America. London: Thames & Hudson. 8-17.

Listening:

Items #7-9

Lecture Dates/Topics: 16 August Salsa and other Afro-Latin Music in New York, Puerto Rico, and Cuba 18 August Salsa and other Afro-Latin Music in New York, Puerto Rico, and Cuba

Week 5 Reading:

Aboriginal Music of Northern Australia Course Reading #8 Marett, Allan. Excerpts from "Traditional Australian Music." In Adrienne Kaeppler and J. W. Love, eds. The Garland Encyclopedia of World Music, Vol. 9. 1998. 418-427 (top). Course Reading #9 Knopoff, Steven. "Introductory Notes on Yolngu Culture and Song." Unpublished ms., University of Adelaide, 1995. 8 pp.

Listening:

Items #10-13

Lecture Dates/Topics: 23 August Aboriginal Music in Northern Australia Yolngu Traditional Music and Culture (1) 25 August Yolngu Traditional Music and Culture (2)

Week 6 Reading:

Contemporary Aboriginal Music Course Reading #10 Breen, Marcus. I have a Dreamtime: Aboriginal Music and Black Rights in Australia. Broughton, Simon, et al. eds. World Music The Rough Guide. London: The Rough Guides, 1994. 655-662. Course Reading #11 Oien, Kathlenn R. "Aboriginal Rock." In Adrienne Kaeppler and J. W. Love, eds. The Garland Encyclopedia of World Music, Vol. 9. 1998. 144 (bottom)-146 (top).

Listening:

Items #14-15

Lecture Dates/Topics: 30 August Yolngu Traditional Music and Culture (3); Contemporary Aboriginal Music and Performance (1) 1 September Contemporary Aboriginal Music and Performance (2)

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Week 7 Reading:

Traditional and Contemporary Music in Japan Course Reading #12 Fujie, Linda. Excerpts from "East Asia/Japan." In J. T. Titon, ed., Worlds of Music, second ed. New York: Schirmer Books, 1992. pp. 318-333 (top). Course Reading #13 Coaldrake, A. K. "Breaking the Sound Barrier: The Inner World of Japanese Music." Miscellania Musicologica 19, 1989. pp. 71-78.

Listening:

Items #16-19

Lecture Dates/Topics: 6 September Traditional and Contemporary Music in Japan 8 September Cross-Cultural Currents in Japanese Contemporary Classical Music Guest Presenter: Assoc Prof Kimi Coaldrake

Week 8 Reading: Listening:

Review for Exam #1; Distribution & Discussion of Essay Assignment; EXAM #1 No assigned readings this week No assigned listening this week

Lecture Dates/Topics: 13 September Review for Exam #1; Distribution & Discussion of Essay Assignment 15 September EXAM #1

Week 9 Reading:

Music of Vietnam Course Reading #14 Sakurai, Shoko. "Vietnam." In Fujii, Tomoaki, ed. The JVC Video Anthology of World Music and Dance (books accompanying the videorecording series of the same name). Book III: Southeast Asia. Osaka: JVC in collaboration with the National Museum of Ethnology, 1989. pp. 3-6. Course Reading #15 Shelemay, Kay K. "Case Study: The Vietnamese Migration." In Soundscapes: Exploring Music in a Changing World. New York: W W Norton. 2001. pp. 82 (bottom)-95.

Listening:

Items #20-22

Lecture Dates/Topics: 20 September Traditional and Contemporary Music of Vietnam and Vietnamese Migrants 22 September Vietnamese-Australian Music Guest Presenter: Dang-Thao Nguyen

==========================MID-SEMESTER BREAK==========================

-------------------------PTO-------------------------

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Week 10 Reading:

Classical Music of India Course Reading #16 Capwell, Charles. "The Music of India." In Bruno Nettl et al. Excursions in World Music. Englewood Cliffs, New Jersey: Prentice Hall, 1992. pp. 14-41. Course Reading #18 Slawek, Steven. " Shankar, Ravi." Grove Music Online. Ed. L. Macy. <http://www.grovemusic.com> (Accessed 18 July 2008)

Listening:

Items #23-24

Lecture Dates/Topics: 11 October Karnatak Music (Classical Music of South India) Hindustani Music (Classical Music of North India) 13 October Classical Indian Music, continued

Week 11 Reading:

Indian Film Music; Indian Classical Music and 1960s Western Pop Course Reading #17 Marre, Jeremy and Hannah Charleton. "There'll Always be Stars in the Sky: The Indian Film Phenomenon." In Beats of the Heart: Popular Music of the World. London: Pluto Press, 1985. pp. 137154. Items #25-26

Listening:

Lecture Dates/Topics: 18 October Indian Film Music 20 October Indian Classical Music and Western Pop

Week 12 Reading:

Tejano (Tex-Mex) Music; Course Summary & Review for Exam #2 Course Reading #19 Burr, Ramiro. "Tejano Conjunto!" In Simon Broughton et al, eds. World Music - The Rough Guide. London: The Rough Guides, 1994. pp 625-631. Course Reading #20 Marre, Jeremy and Hannah Charleton. "Tex-Mex: Music of the Texas-Mexican Borderlands." In Beats of the Heart: Popular Music of the World. London: Pluto Press, 1985. 104-121.

Listening:

Items #27-28

Lecture Dates/Topics: 25 October Tejano Music in the Southwestern U.S. and Northern Mexico 27 October Course Summary and Review for Exam #2

Week 13 1 November

EXAM #2 (in Schulz 1004, 9:10 a.m.)

Week 14 8 November

ESSAY DUE (submit by 12:00 at the Elder Music Office)

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4.4 SPECIFIC COURSE REQUIREMENTS

There are no additional course-specific requirements.

5.

ASSESSMENT

The Universitys policy on Assessment for Coursework Programs is based on the following five principles: 1) Assessment must encourage and reinforce learning; 2) Assessment must measure achievement of the stated learning objectives; 3) Assessment must enable robust and fair judgements about student performance; 4) Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned; and 5) Assessment must maintain academic standards (see: http://www.adelaide.edu.au/policies/700/ )

5.1

ASSESSMENT SUMMARY
Weighting 25% Date This 50-minute exam will be held on Thursday 15 September, 12:10am, in Schulz 1004 This 70-minute exam will be held on Tuesday 1 November, 9:10am, in Schulz 1004 The 1,600-1,800 word essay will be set in class on 13 September and will be due by 12:00 noon on Tuesday 8 November Learning Objective 1, 2, 3

Assessment Tasks Exam #1

Exam #2

35%

1, 2, 3

Course Essay

40%

1, 3, 4

The first, lower-weighted exam is formative in that students will get feedback on their work and a better understanding of how to approach the second, similarly structured exam. The second, more heavily weighted exam and the course essay are summative in nature. Examination dates will be available on Access Adelaide. The full timetable is published on the Examinations website at least 5 weeks before the semester 1 exam period http://www.adelaide.edu.au/student/exams/timetable.html

5.2

REQUIREMENTS

Attendance: Role will not be taken in this large lecture format course, however, active presence at 100% of the lectures is expected. Because the lectures are information-dense, students are advised to take notes during lectures (personal audio recordings of lectures are also allowed). Students who miss lectures will likely not perform as well on exams due to inability to make up for missed information. If you are unable to attend a given lecture due to illness, I recommend that you obtain a copy of notes from another student who was present at that lecture.

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5.3

ASSESSMENT DETAIL
Exams Both exams will consist of a combination of short answer questions (e.g., involving one sentence answers), multiple-choice questions, and questions requiring one- or two-paragraph responses. The exams will assess material covered in course lectures, assigned readings, and assigned listening. Exam #1 will cover lectures and readings through 13 September, and required listening items #1-19 only. Exam #2 will focus primarily on lectures and readings from 20 September through the end of the course, but will also assess some of the content from the earlier part of the course. Exam #2 will assess required listening items #20-28 only. Students are required to sit both exams as scheduled. No exceptions will be made except in the case of certified medical or compassionate grounds. Essay Students will be given a set range of topics to choose from for this essay. Each topic will allow students to compare and contrast two artists or groups of their choice in accordance with criteria explained in the essay instructions. Further information will be provided in the essay instructions, to be distributed and discussed in class on Tuesday 13 September.

5.4

SUBMISSION

The course essay is to be submitted (signed in) at the Elder Conservatorium office, Hartley Building (Ground Level), by 12 noon on the due date. Late assignment policy: Extensions are only granted when supporting documentation can be provided and then, and only then, by arrangement with the course lecturer prior to the due date and time. Extensions will not be granted under any other circumstance. Assessed work that is submitted late (after the due date and time) will not be examined for assessment or feedback. In the case of illness this will require a medical certificate, and in the case of personal (non-medical) circumstances you will need a letter of support from a University Student Counsellor. For further information please refer to the following website: http://www.adelaide.edu.au/counselling_centre/ Students will receive feedback on their assessment tasks. ASSIGNMENT COVER SHEETS The essay must be submitted with the relevant cover sheet which will be provided together with the essay instructions. Your work may not be marked if the cover sheet is not completed and attached. All students must sign the declaration regarding plagiarism and collusion, and work cannot be assessed without this.

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PLAGIARISM AND COLLUSION For full details consult the University of Adelaides Statement and Definition of Plagiarism and Related Forms of Cheating << http://www.adelaide.edu.au/policies/?230 >> Plagiarism is the using of another persons ideas, designs, words or works without appropriate acknowledgement. Collusion occurs when another person assists in the production of an assignment without the express requirement, knowledge or consent of the assessor. Consequences of plagiarism and collusion The penalties associated with plagiarism and collusion reflect the seriousness of the University of Adelaides commitment to academic integrity. Penalties may include the student being required to revise and resubmit the work in question, receiving a zero result for the work, failing the course, or expulsion from the course.

5.5 COURSE GRADING

Grades for your performance in this course will be awarded in accordance with the following scheme:

MS6 Undergraduate
Grade HD D C P F Mark 85-100 75-84 65-74 50-64 0-49 Description High Distinction Distinction Credit Pass Fail

Further details of the grades/results can be obtained from: http://www.adelaide.edu.au/student/exams/results.html Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level (see: http://www.adelaide.edu.au/policies/700/ ) ASSESSMENT CRITERIA FOR ACADEMIC AND TEXT-BASED COURSES The following guidelines are used for the assessment of all undergraduate academic and text-based courses in the University of Adelaide Faculty of Humanities and Social Sciences: High Distinction >85% Outstanding or exceptional work in terms of understanding, interpretation and presentation Distinction 75-84% A very high standard of work which demonstrates originality and insight Credit 65-74% Demonstrates a high level of understanding and presentation and a degree of originality and insight Pass 50-64% Satisfies the minimum requirements Fail 0-49% Fails to satisfy the minimum requirements

Final results for this course will be made available through Access Adelaide (https://access.adelaide.edu.au/sa/login.asp)

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6.

STUDENT FEEDBACK

The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as CEQ surveys and Program reviews. SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/ ), course SELTs are mandated and must be conducted at least once every 2 years. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data can be found at: http://www.adelaide.edu.au/clpd/selt/aggregates

7.

STUDENT SUPPORT
Maths, writing and speaking skills Personal counselling for issues affecting study Ongoing support Advocacy, confidential counselling, welfare support and advice Alternative academic arrangements Alternative Examination Arrangements Policy Reasonable Adjustments to Teaching & Assessment for Students with a Disability Policy http://www.adelaide.edu.au/clpd/students http://www.adelaide.edu.au/counselling_centre http://www.international.adelaide.edu.au/support/isc http://www.auu.org.au/site/page.cfm?u=69

Academic Support Counselling Service International Student Care Student Care

Students with a Disability

http://www.adelaide.edu.au/disability http://www.adelaide.edu.au/policies/63 http://www.adelaide.edu.au/policies/64

8.

POLICIES & GUIDELINES

This section contains links to relevant assessment-related policies and guidelines. All University Policies can be obtained from: http://www.adelaide.edu.au/policies Assessment for Coursework Programs Cheating in Examinations and Related Forms of Assessment Copyright Examinations Plagiarism Student Grievance Resolution Process Unsatisfactory Academic Progress by Coursework Students http://www.adelaide.edu.au/policies/700 http://www.adelaide.edu.au/policies/1963 http://www.adelaide.edu.au/policies/2643 http://www.adelaide.edu.au/policies/465 http://www.adelaide.edu.au/policies/230 http://www.adelaide.edu.au/student/grievance/ http://www.adelaide.edu.au/policies/1803

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