Attendance is required at scheduled activities including workshops to receive credit for components of the course.
Lectures will be available as recordings. Other learning activities including workshops will not be available as recordings.
The course will not include live online events.
Attendance on campus is required for the test/exam.
The activities for the course are scheduled as a  weekly timetable.

The course is delivered through a combination of lectures and workshops. The lectures are primarily concerned with the delivery of material that enables students to understand concepts, developing a knowledge of subject matter on the topics, as per the lecture schedule. The course builds on the basic understanding of music history and performance, established through prior learning as instrumentalists, and through acquisition of knowledge through stage 1 core courses. As identified in the AIMS above, the course provides students with knowledge and understanding that will inform their performances, as well as providing them with the tools to undertake critical discussion of pre 20-th century music. In so doing, it also prepares them for careers as teachers and/or performers, where understanding of H.I.P is in many contexts taken as an assumed skill-set.
The weekly workshops provide students with the opportunity to apply the knowledge gained in lectures in a practical context, allowing students to explore the topics within the context of the course, prior to experimenting with these ideas in the wider environment of their own studio lessons and in performance.

Taught courses use a learning and collaboration tool called Canvas to provide students with learning materials including reading lists and lecture recordings (where available). Please remember that the recording of any class on a personal device requires the permission of the instructor.

All course readings are available via Reading Lists on Canvas.The University library, together with on-line resources, including Naxos Music Library, are the primary source of material for this course.Required reading. There is no set textbook for the course; a general reading list is given below. specific reading lists or handouts will be distributed at relevant lectures.The following is a bibliography of primary and secondary sources. This list is not comprehensive, but is intended as a guide to the types of resources that may be relevant, particularly when exploring essay topics.
Primary SourcesBach, Carl Philipp Emmanuel. Essay on the True Art of playing Keyboard Instruments (Translated and edited by William J. Mitchell). New York: W.W. Norton, 1949.Bacilly, Bénigne de. A Commentary upon the Art of Proper Singing (Translated and edited by Austin B. Caswell Jr.). New York: Institute of Mediaeval Music, 1968.Couperin, Francois. L’Art de toucher le clavecin. Paris 1717. (Edited by A. Linde with English translation by M. Roberts). Wiesbaden: Breitkopf & Härtel, 1933.Hotteterre, Jacques. Principles of the Flute, Recorder and Oboe. (Translated and edited by David Lasocki.). London: Barrie and Rockliff; New York: Praeger, 1968.Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing (translated by Editha Knocker). Oxford: Oxford University Press, 1985.Quantz, Johann Joachim. On Playing the Flute. (Translated and edited by Edward R. Reilly). London: Faber and Faber; New York, The Free Press, 1968.Tosi, Pier. Francesco. Observations on the florid song. London: William Reeves, 1967.Türk, Daniel Gottlob, School of Clavier Playing or Instructions in Playing the Clavier for Teachers and Students (Translated by Raymond M. Haggh). Lincoln: University of Nebraska Press, 1982.Walther, Johann Gottfried. Musicalisches Lexicon. Leipzig, 1732. Facsimile, ed. Richard Schaal. Kassel: Bärenreiter, 1953. 
Secondary SourcesBrown, Clive. Classical and Romantic Performance Practice 1750-1900. Oxford: Oxford University Press, 1999. Brown, H.M., & Sadie, Stanley (eds.), Performance Practice: Music after 1600. London: Macmillan, 1989.Butt, John. Playing with History : The Historical approach to Musical Performance. Cambridge; New York : Cambridge University Press, 2002.Butt, John. Bach Interpretation : articulation marks in primary sources of J.S. Bach. Cambridge; New York: Cambridge University Press, 1990.Donington. R. The Interpretation of Early Music. London: Faber, 1974, (or revised ed., 1992)Harnoncourt, Nikolaus. Baroque Music Today: Music as Speech (translated by Mary O’Neill). Portland: Amadeus Press, 1988.Harnoncourt, Nikolaus. The Musical Dialogue: Thoughts on Monteverdi, Bach and Mozart (translated by Mary O’Neill). Portland: Amadeus Press, 1984.Lawton, C., and Stowell, R. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press, 1999.Newman, Anthony. Bach and the Baroque. New York: Pendragon Press, 1995.Rosenblum, Sandra P. Performance Practices in Classic Piano Music: Their Principles and Applications. Bloomington: Indiana University Press, 1988.Sherman, Bernhard D. Inside Early Music: Conversations with Performers. New York: Oxford University Press, 1997.Stowell, Robin. Violin Technique and Performance Practice in the late 18th and early 19th centuries. Cambridge: Cambridge University Press, 1985.Tarling, Judy. The weapons of rhetoric: a guide for musicians and audiences. St. Albans : Corda Music, 2004 Taruskin, Richard. Text and Act: Essays on Music and Performance. Oxford and New York: Oxford University Press, 1995.Walls, Peter. History, imagination, and the performance of music. Woodbridge, Suffolk ; Rochester, N.Y. : Boydell Press, 2003.
Canvas is the exclusive mode of delivery for announcements regarding assignment due dates, information on the content of assessments. Weekly handouts are provided on Canvas.

The content and delivery of content in this course are protected by copyright. Material belonging to others may have been used in this course and copied by and solely for the educational purposes of the University under license.

You may copy the course content for the purposes of private study or research, but you may not upload onto any third-party site, make a further copy or sell, alter or further reproduce or distribute any part of the course content to another person.

In the event of an unexpected disruption, we undertake to maintain the continuity and standard of teaching and learning in all your courses throughout the year. If there are unexpected disruptions the University has contingency plans to ensure that access to your course continues and course assessment continues to meet the principles of the University’s assessment policy. Some adjustments may need to be made in emergencies. You will be kept fully informed by your course co-ordinator/director, and if disruption occurs you should refer to the university website for information about how to proceed.

ATTENDANCE AND PARTICIPATIONAttendance in class as well as engagement with course activities and readings supports academic success. Therefore, it is strongly recommended that students make every effort to attend class and complete all the necessary in-class requirements.

The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in coursework as a serious academic offence. The work that a student submits for grading must be the student's own work, reflecting their learning. Where work from other sources is used, it must be properly acknowledged and referenced. This requirement also applies to sources on the internet. A student's assessed work may be reviewed for potential plagiarism or other forms of academic misconduct, using computerised detection mechanisms.

Similarly, research students must meet the University’s expectations of good research practice. This requires:

• Honesty - in all aspects of research work
• Accountability - in the conduct of research
• Professional courtesy and fairness – in working with others
• Good stewardship – on behalf of others
• Transparency – of research process and presentation of results
• Clarity - communication to be understandable, explainable and accessible

For more information on the University’s expectations of academic integrity, please see the Academic Conduct section of the University policy hub.

Elements of this outline may be subject to change. The latest information about taught courses is made available to enrolled students in Canvas.

Students may be asked to submit assessments digitally. The University reserves the right to conduct scheduled tests and examinations online or through the use of computers or other electronic devices. Where tests or examinations are conducted online remote invigilation arrangements may be used. In exceptional circumstances changes to elements of this course may be necessary at short notice. Students enrolled in this course will be informed of any such changes and the reasons for them, as soon as possible, through Canvas.

Assignments are to be submitted, according to submission type specified on CANVAS, by the due date. If your ability to complete assessed coursework is affected by illness or other personal circumstances outside of your control, please complete an application for extension form at the following link

https://www.forms.auckland.ac.nz/en/student/creative-arts-and-industries/te-whare-o-ng_-pkrero-poro---school-of-music-undergraduate-exten.html

You must submit your extension application as early as possible before the assignment due date.

Late assignments that do not have an approved extension will be penalised 10% for each day or part thereof and will be automatically deducted on CANVAS. No assignment will be accepted after that assignment has been returned to students. 

Feedback on taught courses is gathered from students at the end of each semester through a tool called SET or Qualtrics. The lecturers and course co-ordinators will consider all feedback and respond with summaries and actions. Your feedback helps teachers to improve the course and its delivery for future students. In addition, class Representatives in each class can take feedback to the department and faculty staff-student consultative committees.

According to feedback from 2024, we will endeavour to create one more assessment on the Classical style module before the final exam. Two participation marks will be given this year, one for the Classical performance module and one for the Romantic module. This way, students will better understand the expectations for workshop participation.

Class representatives are students tasked with representing student issues to departments, faculties, and the wider university. If you have a complaint about this course, please contact your class rep who will know how to raise it in the right channels. See your departmental noticeboard for contact details for your class reps.

Tuākana is a multi-faceted programme for Māori and Pacific students providing topic specific tutorials, one-on-one sessions, test and exam preparation and more. Explore your options at Tuakana Learning Communities.

All students are asked to discuss any impairment related requirements privately, face to face and/or in written form with the course coordinator, lecturer or tutor.

Student Disability Services also provides support for students with a wide range of impairments, both visible and invisible, to succeed and excel at the University. For more information and contact details, please visit the Student Disability Services’ website.

We all go through tough times during the semester, or see our friends struggling. There is lots of help out there - please see the Support Services page for information on support services in the University and the wider community.

If your ability to complete assessed work is affected by illness or other personal circumstances outside of your control, contact a member of teaching staff as soon as possible before the assessment is due. If your personal circumstances significantly affect your performance, or preparation, for an exam or eligible written test, refer to the University’s aegrotat or compassionate consideration page. This should be done as soon as possible and no later than seven days after the affected test or exam date.

The Student Charter assumes and acknowledges that students are active participants in the learning process and that they have responsibilities to the institution and the international community of scholars. The University expects that students will act at all times in a way that demonstrates respect for the rights of other students and staff so that the learning environment is both safe and productive. For further information visit Student Charter.

Students with concerns about teaching including how a course is delivered, the resources provided, or supervision arrangements, have the right to express their concerns and seek resolution. The university encourages informal resolution where possible, as this is quicker and less stressful. For information on the informal and formal complaints processes, please refer to the Student Academic Complaints Statute in the Student Policies and Guidelines section of the Policy Hub.