• Associate Professor Alistair Noble
  • Executive Dean, Academic Affairs

    Associate Professor Alistair Noble
  • Qualification

    Undergraduate
  • Campus

    Sydney & Melbourne

AWARD: Bachelor of Music
(Composition & Music Production)

Create, perform, produce:

 

Craft your individual sound for tomorrow's music scene

 

Your Bachelor of Music (Composition and Music Production) will speak volumes:

  • Compose, workshop, perform and produce your own original music in a limitless choice of genre
  • Develop your unique style and sound and through one-on-one tutoring and group master classes
  • Master the latest techniques to create and produce your music – including traditional and experimental approaches in composition, scoring, arranging, orchestration, recording, digital audio and post-production
  • Deliver major works, from concept to professional realisation, including a commercial release and your personal showreel
  • Thrive in a collaborative environment, which mimics the industry and sets you up for success
  • Access state-of-the-art recording facilities – record and mix on-campus at AIM’s recording studios as you master your craft on first-class digital and analogue equipment
  • Create in custom-designed production suites – creative spaces with some of the best Digital Audio Workstations (DAW), sample libraries, synthesisers, audio plugins and mastering software, at your fingertips  
  • Be mentored by high-calibre professionals – composers, music producers and engineers – in a supportive, creative environment. Mine their wealth of experience, connections and current industry knowledge across any musical style

Download our Program Guide for course structure and subject details.

  1. Major study: Specialised training to help you develop your personal vision, style and sound, as well as the skills to direct, produce and engineer your music, using the latest technology
  2. Academic studies: Dive into music history and theory to help you contextualise and critique your special areas of interest
  3. Ensemble: The best music producers are champions at collaboration. Time to cultivate your skills
  4. Associated studies & electives: Sharpen your focus or branch out and explore other creative avenues

Elective units give you space to explore and shape your experience. You can fine-tune electives to sharpen your focus or choose accents across performance, production, management, media and tech subjects.

In fact, you can study electives from any of AIM’s major streams. Popular examples include:

  • Acting: Imagination & the Actor
  • Arranging
  • Arts & Entertainment Law
  • Audio Technology
  • Conducting
  • Digital Technology
  • DJ Electronic Music
  • Electronic Music
  • Film & Screen Orchestration
  • Foundations of Improvisation
  • Guitar Skills
  • Intro to Arts & Entertainment Management
  • Keyboard Skills
  • Movement for Stage
  • And many more …

Audition/Portfolio Requirements

Applicants are required to provide a portfolio of two musical items. This may include any of the following forms of evidence:

  • A live performance (to be performed during the interview)
  • A recorded visual or audio performance
  • A recorded original composition
  • A PDF score of an original composition or arrangement
  • A handwritten score of an original composition or arrangement
  • An audio mix of a musical work

 

Applicants may choose to provide a combination of evidence e.g. a live performance of an existing work and a recording of an original track.

Applicants may be required to attend an interview.

 

NSW Year 12

Applicants must have completed the NSW Higher School Certificate in the last 2 years and completed a minimum of English Standard. Note that any result below a Band 3 in English Standard may require further assessment. 

 

Victorian Year 12

Applicants must have completed an Australian Senior Secondary Year 12 Certificate in the last 2 years; for VCE (Victorian Certificate of Education) Students; Satisfactory completion of the VCE and Units 3 and 4 English. Any of the four VCE English studies  - English, English as an Additional Language, Literature or English Language -satisfies the requirement for English; however, Units 3 and 4 must be completed in sequence and in the same calendar year.

 

VCAL (Victorian Certificate of Applied Learning): The completion of senior VCAL will be recognized for entry into the Diploma of Music providing the audition requirements are met. Audition requirements are listed below.

 

For all other admissions criteria, please refer to the Admissions Criteria policy available here:

 Bachelor of Music specific admissions

For more information on the specific entry and admissions processes relevant to your program of interest and your student status, please follow the links below

Domestic Students

How to Apply

Admissions Criteria

 

International Students

How to Apply

Admissions Criteria

Graduates of the Bachelor of Music (Composition and Music Production) should be able to: 

  1. Demonstrate a broad knowledgeof Composition and Music Productiontheory and practice, with depth and applied understanding in their chosenCreative specialisation. 
  2. Critically review, analyse, consolidate and synthesise Composition and Music Production theory and practice in their chosen instrumental major. 
  3. Demonstrate technical proficiency in their chosen instrumental major. 
  4. Apply critical thinking and creativity and informed judgement to a range of creative scenarios. 
  5. Communicate clearly, effectively and appropriately as a composer and music producer, in a diverse range of contexts, circumstances and media. 
  6. Demonstrate initiative and judgment in Composition and Music Production theory and practice. 
  7. Demonstrate initiative and judgment in planning, problem solving and decision making in Composition and Music Production theory and practice. 
  8. Adapt Composition and Music Production knowledge and skills to a diverse range of professional contexts. 
  9. Demonstrate responsibility and accountability in the application of Composition and Music Production knowledge and skills for professional practice, through ongoing professional development and when working in collaborations with others. 

 

Teaching Staff in Composition

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Mark Oliveiro

  • Leadership

    Academic Lecturer

  • Campus

    Sydney

  • Departments

    Composition & Music Production

Mark Oliveiro, a Sydney native, Doctor of Music and Academic Lecturer in Music at the Australian Institute of Music, is a composer with diverse extra-musical interests.

 

An obsession with history, mythology and ancient literature, renders Oliveiro’s work riddled with themes from archaeological study and obscure urban legends, alike. His music has been described as; “epic”, “unashamedly ritualistic” and “atmospheric” with “Dreamtime overtones”. At present, Oliveiro has an interest in exploring, by way of conceptual abstract and musical aesthetic, the notion of reconstructing lost or imagined performance traditions. Dance and movement, theatrics and technology, language and social media, are just some of the non-musical solutions most apt for the ever expanding, contemporary composer tool belt.

 

With a keen and equal interest in music of the acoustic and electronic and interactive medium(s). Oliveiro’s music has been represented at national and international conferences and festivals hosted by: the North American Saxophone Alliance, the World Saxophone Congress, the International Horn Society, the Australasian Computer Music Association, the International Computer Music Association, the Society of Electroacoustic Music in the United States, Electronic Music Midwest, the British Trombone Society, Vivid Music, Horizon Festival, and many more.

 

Oliveiro is a graduate and distinguished alumnus of the Sydney Conservatorium, the College of Music and the University of North Texas and the Jacob’s School of Music of Indiana University. His music has been commissioned by the International Horn Society and the Meir Rimon Commissioning fund, the Australiasian Art Music Fund, the Settimane Musicali di Stresa e del Lago Maggiore, Chronology Arts, Pictures on Silence, as well as numerous professional individuals.

 

Oliveiro is an active Disc Jockey, Synthesist and Music Educator.

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    Scott Saunders

    • Leadership

      Academic Lecturer

    • Campus

      Sydney

    • Departments

     

    Scott Saunders has had a remarkable 40 year musical career as a composer, performer, musical director, producer and educator.

    Best known as the founder of dig (aka Direction in Groove) a band that enjoyed success locally and internationally playing at major venues and festivals including, Montreux Jazz and The North Sea Jazz Festival .He received a Gold Record, a MO, two APRA awards and, several ARIA Nominations. dig remain highly respected for their unique contribution to Australian musical culture.

    Scott has composed for screen and theatre, including, Dying to Leave (Logie best documentary) and Bondi Rescue, and has been Composer/Musical Director on Large-scale community musical works for the Queensland Music Festival and  Festival of Sydney.

    In 2016 Scott arranged and produced backing tracks for Dave Mason’s “karaoke” show Dark for the VIVID festival in Sydney.

    Scott is a Master of Philosophy (Music) with his thesis on “The Aesthetics of Groove”.

     

    He is happiest behind a grand piano or on a vintage keyboard locking into the groove or a swinging jazz improvisation.

     

    In his role as Program Leader for Specialisation Scott is very excited to be working with students on the passion that drives them and forms the core of their studies. Whether that means the desire to be a singer, musician, actor, composer, technician or manager, it is this motivation that brings students to AIM and will sustain them through their professional careers when they leave.

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      Dr Phillip Johnston

      • Leadership

        Academic Lecturer

      • Campus

        Sydney

      • Departments

      Dr Phillip Johnston is known internationally as a jazz saxophonist and composer. He has composed extensively for film including Paul Mazursky’s Faithful, Philip Haas’ The Music of Chance and Money Man, Doris Dörrie’s Paradise and Geld, Stolen Life by Peter Rasmussen & Jackie Turnure (which won the New York Machinima Festival Award for Best Music Score), Noise by Henry Bean, and Kathryn Millard’s Shock Room which won the 2015 Antenna Documentary Film Festival Award for Best Australian Documentary. He has also written for silent film, including Tod Browning’s The Unknown, The George Méliès Project, Teinosuke Kinugasa’s Page Of Madness, F.W. Murnau’s Faust and Lotte Reiniger’s The Adventures of Prince Achmed. He has also composed for theatre (Bell Shakespeare Company, Griffin Theatre, New York’s Public Theatre), dance (his score for Keely Garfield’s Minor Repairs Necessary, won a ‘Bessie’ in 1999), television and radio. His opera with MacArthur Genius Award winner Richard Foreman, Young Goodman Brown, was produced at LaMaMa ETC in New York.

       

      As a jazz musician, he has played at clubs, concert halls, and festivals across Australia, Europe, Canada, the US and South America. The New Yorker has called him “An exceptionally individualistic composer and superb improviser…”  and Downbeat has described his music as “seminal, brilliant post-modern jazz”.

       

      His most recent recordings are Diggin’ Bones by Phillip Johnston & the Coolerators and The Adventures of Prince Achmed, a silent film score. He continues to perform regularly in Australia and New York.

       

      He has taught at New York University, the University of the South, the Sydney Institute, and guest lectured at Bard College, the University of Ohio, AFTRS and UNSW. Having completed his PhD at the Newcastle Conservatorium in 2015, he continues to write for academic journals and give papers at scholarly conferences. His most recent publication is the chapter ‘Jazzin’ the Silents: Jazz and Improvised Music in Contemporary Scores for Silent Film’ in the book Cinema Changes: Incorporations of Jazz in the Film Soundtrack, forthcoming in 2019.

       

      His research interests are film music, silent film, Australian film, jazz and improvised music.

       

      www.phillipjohnston.com