Duration
2 years (6 trimesters) accelerated
Locations
Sydney, Melbourne, Brisbane
Fees
Intake Dates

February, June, September

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International

CRICOS 081191F 

JMC welcomes students from all over the world.
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Standing centre stage, crowd roaring, bass pumping, the lights come up… Making it as a musician doesn’t have to be a fantasy – make it your reality... Become a complete performing musical package with a JMC Bachelor degree.

Evolve your music writing, music technology and live performance skills under the tutelage of some of the best teachers and performers in the music industry. You will receive weekly one-on-one private lessons on your major instrument to improve your technical facility, musicality, and performance skills, and at the end of the major this will culminate into a large-scale major project, which could contain elements of recorded performance as well as a live recital.

Write and perform the music for an app, a game, or the soundtrack to a film - and collaborate with JMC students in other fields on industry projects while building a creative network you can rely on throughout your career. Learn about how to navigate the music business, and how to identify professional opportunities. Master multi-platform performance skills, mixing techniques and recording, produce and arrange for ensembles while expanding your knowledge of repertoire; and undertake your own specialist project that will see you performing a major gig to a live audience.

Why Study Music Performance at JMC?

Unique 1-on-1 instrumental or vocal tuition
Become a more employable musician with improved knowledge of music language and performance techniques
Regular live performance opportunities in real venues

Technology & Facilities

Designed for recording high-quality demos and mastering performance, our studios feature ProTools, Logic, Ableton Live and Native Instruments, along with MIDI keyboard controllers and monitors, top of the range microphones and over 30 (national) fully fitted rehearsal studios and performance spaces equipped with digital and baby grand pianos, drumkits and an array of amplifiers.

Duration

In only 2 years you can graduate with a Bachelor degree thanks to our accelerated full-time course. Part-time study is also available to domestic students. International students may choose to complete the course in 3 years [058463A] rather than the accelerated 2 year option.

Students who have successfully completed 4 trimesters of the Bachelor programme may successfully graduate with an Associate Degree qualification.

Study Abroad

During your time with us you'll get the opportunities to participate in international masterclasses, study tours, and music and songwriting camps. JMC Music Students can apply for the international Songwriters Camp at Haarlem Conservatory in the Netherlands, Nandos Music Exchange in London or the JPop study tour in Japan.

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CURRICULUM

Credit Points: 6
Trimester 1

This unit provides an overview of Western contemporary popular music styles and the evolution in production of recorded and performed music since the 1950s. Students investigate major musical styles and periods from the 1950s to the present and develop the ability to define key characteristics of each. The unit introduces the broad themes of what constitutes popular music, and elements of music production, with an emphasis on musical events, key artists or industry figures, and institutions which contributed to the development of different musical movements. Students are exposed to the structure of the music industry, developing their understanding of the inter-relationship between the different sectors and key historical developments, and gain an appreciation of the music tradition within which they will work. The unit provides a context and preparation for the concepts which are explored further in subsequent units and is essential for future professional practice in the music industry. Basic academic writing skills and assignment planning will also be covered in this unit. 

Credit Points: 6
Trimester 2

The purpose of this unit is to give students an introduction to the music industry enabling a basic understanding of key sectors, roles and structures within it. It will also introduce students to copyright as it applies broadly to musical, literary, dramatic and artistic works and the functions and responsibilities of publishers and publishing companies. All areas relating to the application of copyright and the workings of publishing are considered. This unit also introduces music publishing contracts, distribution deals, and opportunities that are emerging with the development of digital technology and the practices of independent artists. It will also explore the fundamentals of band management, including use of an ABN and basic business principles.  

Credit Points: 6
Trimester 1

This unit introduces students to the capacity of music technology to enhance their potential as musicians, composers, and recording artists. Students will investigate the fundamental range and features of music technology available and gain understanding of its potential in the creative process. Students will learn the fundamentals of the technology underlying all stages of music creation and distribution. They will also investigate the operations and parts of a computer; set-up and operation of small music home recording systems; operation of industry standard software program (Pro Tools, Logic Pro, or Ableton Live) and program using Musical Instrument Digital Interface (MIDI). Students will acquire (or reinforce) basic musicianship and keyboard skills. Academic writing skills with research and referencing methodology will also be covered as part of preparation for the first assessment task. 

Credit Points: 6
Trimester 2

This unit develops students’ conceptual knowledge and technical skills in composition and arranging – focusing on form, structure, harmonic and melodic development. Students will investigate techniques based on contemporary composition and writing music for screen and games. The classes will involve some analysis of influential songwriters, composers, arrangers, and their works. 

Following the first assessment, which presents a demo for an original piece of instrumental music as a stand-alone composition, or to suit a brief for screen or a game, the unit goes on to develop the students’ understanding of the process of music arranging. This begins by learning the fundamental concepts of arranging, including texture, dynamics, density, range, and basic harmonic voicing techniques. This will then extend to the musical features of instruments within a basic contemporary music ensemble of vocals, guitar, piano/keyboard, bass and drums. Then students can move on and further develop an understanding of writing for front line instruments - specific string, brass and reed instruments. Based on this knowledge of individual instruments, students will create a full notated arrangement of the original piece submitted for the first assessment, demonstrating an understanding of harmony, melody, rhythm, structure and stylistic devices.  This arrangement is then performed by professional musicians in the final weeks of trimester, and recorded as part of the final assessment submission.

Credit Points: 3
Trimester 1

This subject provides students with the technical and theoretical understanding of musical principles and theory to allow them to create, analyse and communicate concepts within contemporary music. Skills and understanding achieved in this subject create the foundation of any professional musician, which will be further developed during the duration of the course. This fundamental level of musicianship will eventually allow students to arrange music, compose successful compositions and help develop their technical musical skills on their chosen instrument.  

Credit Points: 3
Trimester 2

This unit continues developing the student’s knowledge and understanding of Music Theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships at an intermediate level. This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the second of four units (Music Theory 1-4) that will build the students’ ability and knowledge within practical components of written music theory and increase their overall musical awareness. 

Credit Points: 3
Trimester 1

This subject provides development in the student’s aural musicianship skills. In undertaking this subject, students will gain an understanding of fundamental musical principles and strengthen their aural perception of musical elements. Skills and understanding achieved in this subject create the foundation of any professional musician, which will be further developed during the duration of the course. This fundamental level of musicianship will allow students to better appreciate music and explore sonic textures. Emphasis is given to three main area including rhythmic perception and performance, solfege, performance and recognition of harmonic and melodic elements.  

Credit Points: 3
Trimester 2

This unit builds on the musical concepts covered in Ear Training I, preparing the student for musicianship at a professional level. Skills developed in this unit will include aural recognition and reproduction of intervals, four-note chords, and scales. Students will also continue to develop their ability to sight sing diatonic melodies and perform intermediate rhythms. This enhanced level of musicianship will eventually allow students to analyse and compose successful compositions and continue to develop and employ technical skills on a chosen instrument. This is the second of four units that will build a student’s ability and knowledge within practical components of music theory and increase their overall musical awareness.

Credit Points: 3
Trimester 2

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. In Performance Major 1, students will begin to develop their technical expertise in their principal instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental or vocal lessons (1 x 30 min lesson per week).   

Subsequent Performance Major units continue to develop technical proficiency, creativity and their personal playing styles. The underlying theme of these units is exploration and experimentation with a view of identifying and continually refining the student’s personal expression. 

Credit Points: 3
Trimester 2

As for Performance Major 1, in Performance Major 2, students will continue to develop their technical expertise in their principal instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental lessons (1 x 30min lesson per week). It is expected that the student will be able to exhibit a level of musicianship and craft superior to that demonstrated in Performance Major 1. More attention is placed in this unit on audience engagement during performance. 

Credit Points: 3
Trimester 2

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. In Major Performance 1A, students will begin to develop their technical expertise in a secondary instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental or vocal lessons (1 x 30 min lesson per week).   

Subsequent Performance Major units continue to develop technical proficiency, creativity and their personal playing styles. The underlying theme of these units is exploration and experimentation with a view of identifying and continually refining the student’s personal expression.  

This unit is an ‘extra’ unit, taken in addition to prescribed curriculum for the Diploma of Music and Bachelor of Music Degrees. The credit points for this unit will not contribute towards the completion of a qualification. 

Credit Points: 3
Trimester 2

As for Major Performance 1A, in Major Performance 2A, students will continue to develop their technical expertise in a secondary instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental lessons (1 x 30min lesson per week). It is expected that the student will be able to exhibit a level of musicianship and craft superior to that demonstrated in Major Performance 1A. More attention is placed in this unit on audience engagement during performance.  

This unit is an ‘extra’ unit, taken in addition to prescribed curriculum for the Diploma of Music and Bachelor of Music Degrees. The credit points for this unit will not contribute towards the completion of a qualification. 

Credit Points: 3
Trimester 1

Ensemble 1 - PSP205

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 1, students will begin to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week). Stage performance technique as ‘stage presence’ is introduced and students are given the opportunity to explore, rehearse and develop musical skills in a group or ensemble environment. Students will be able to demonstrate their craft during two formal ensemble performances.   

To assist in the development of their professionalism, students will begin to develop planning skills and the ability to set specific, timely and achievable goals.  Attention is placed on learning basic communication and interaction skills. 

Collaborative Recording Project 1 - PSP206

In the first unit in the Collaborative Music Production sequence, students are introduced to the practices of collaborative music-making. For musicians developing a specialist skill as a creative technologist, replication of music elements via digital environments is an integral foundation skill for a digital creator. This unit includes aspects of group music creation and replication using software, piano skills via industry DAWs, and basic stylistic replication. Across a 1 x 2-hour supervised group class per week (and additional self-organised follow-up sessions), students will develop planning skills and the ability to set specific, timely and achievable goals. Attention is placed on learning basic communication and interaction skills. 

Credit Points: 3
Trimester 2

Ensemble 2 - PSP215

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 2, students continue to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week).   

The focus for this Ensemble unit is on working with a new group of musicians to develop an extended repertoire for live and recorded performances.  Specialist tutors guide students through this process, from increasing technical proficiency, creativity and the development of their personal playing styles. Their stage persona also continues to be refined, with increasing emphasis on movement, stage dialogue, microphone technique, musicianship and stage image. To prepare for the live performance and live recordings, a number of rehearsal sessions are organised where students will be given ‘real time’ feedback from their tutors, as well as discussing and critiquing performances with their peers. 

Collaborative Recording Project 2 - PSP216

In Collaborative Recording Project 2, students are expected to apply superior knowledge proficiently at a level higher than they demonstrated in Collaborative Recording Project 1. To achieve this, students will be encouraged to explore different models for creative collaboration in the design and realisation of a group-based music technology project, with a focus on a model that allows them to best communicate with each other. The scope of the creative work in this unit is potentially limitless, however students will have to work together to articulate, refine and justify their creative choices so that the production achieved is a thought-provoking combination of musical interests, talent and skillsets. Students may also participate in a collaborative live recording assessment with student ensembles from PSP215 Ensemble 2, which will require the application of professional communication skills and sharing of knowledge and skills. 

Credit Points: 6
Trimester 3

The unit equips students with knowledge and understanding of how contemporary music engages with various form of media in digital and traditional scenarios. A basic understanding of music marketing - including definitions, processes and planning strategies - is covered, allowing students to reflect on their own work-related performance and develop an advanced understanding of incorporating various media into their career practice. Students will also develop a capacity to incorporate other media, such as film, art, design and other creative fields into the promotion of their music and musical projects. This unit will also cover some basic media creation skills using widely available production software such as Adobe Illustrator, Photoshop, and Final Cut Pro or any other content creation software available to the students.  

Trimester 4

Choose from:

  • Music Cultures - PSP301
  • Lyrics & Songwriting - PSP302
  • Music Production Studies - PSP311
  • Performing and Creating with Ableton Live - PSP312
  • Lyrical Influences - PSP302 (Must have completed Lyrics & Songwriting - PSP302)
  • Arranging and Orchestration - PSP212
  • History of Western Music - PSP201
  • Tutoring Techniques - PSP406 
  • Composition Techniques - PSP407
  • Screen Sound and Music - PSP408
  • International Study Tour - COL400
  • Internship - COL401
  • E-Portfolio - COL402

Trimester 3

Choose from:

  • Music Cultures - PSP301
  • Lyrics & Songwriting - PSP302
  • Music Production Studies - PSP311
  • Performing and Creating with Ableton Live - PSP312
  • Arranging and Orchestration - PSP212
  • History of Western Music - PSP201
  • Tutoring Techniques - PSP406 
  • Composition Techniques - PSP407
  • Screen Sound and Music - PSP408
  • International Study Tour - COL400
  • Internship - COL401
  • E-Portfolio - COL402

Credit Points: 3
Trimester 4

This unit continues developing student knowledge and understanding of Music Theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships. Music Theory 4 introduces knowledge of dominant chords, dominant chord interchange through substitutions, resultant scales, and blues.  This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the final of four units (Music Theory 1-4) that build the student’s ability and knowledge within practical components of written music theory and increase their overall musical awareness.  

Credit Points: 3
Trimester 3

This unit continues developing student knowledge and understanding of music theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships. This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the third of four units (Music Theory 1-4) that will build the students’ ability and knowledge within practical components of written music theory and increase their overall musical awareness.

Credit Points: 3
Trimester 4

This unit builds on the musical concepts covered in Ear Training 1-3, preparing the student for musicianship at a professional level. Skills and understanding gained in the unit will include aural recognition of secondary dominants, modulation, modal interchange, polyrhythms, odd-time signatures, and utilisation of the full chromatic scale.  In addition, students will engage with sight-reading of rhythms and melodies, and vocal reproduction of intervals, chords and scales. This is the last of four units (Ear Training 1-4) that build the students’ ability and knowledge within practical components of music theory and increase their overall musical awareness. 

Credit Points: 3
Trimester 3

This unit continues developing student knowledge and understanding of music theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships. This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the third of four units (Music Theory 1-4) that will build the students’ ability and knowledge within practical components of written music theory and increase their overall musical awareness.

Credit Points: 3
Trimester 4

In Performance Major 4, the final unit in this sequence, students have the opportunity to seize full advantage of these sessions to take their technical expertise to the next level in preparation for professional performances. As experienced professional musicians themselves, students will collaborate with their tutor to develop a repertoire that showcases their mastery in style and repertoire, and technical expertise in their principal instrument. Experimentation, as improvisation, is explored to deepen understanding of musical style, form, interpretation, and musicianship in preparation for their musical career. 

Credit Points: 3
Trimester 3

As for Performance Major 1 & 2, in Performance Major 3, students will continue to develop their technical expertise in their principal instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental lessons (1 x 30min lesson per week). It is expected that the student will be able to exhibit a level of musicianship and craft superior to that demonstrated in Performance Major 2. More attention is placed in this unit on audience engagement during performance. 

Credit Points: 3
Trimester 4

In Performance Major 4A, the final unit in this sequence, students have the opportunity to seize full advantage of these sessions to take their technical expertise on a secondary instrument to the next level in preparation for professional performances. As experienced professional musicians themselves, students will collaborate with their tutor to develop a repertoire that showcases their mastery in style and repertoire, and technical expertise in their principal instrument. Experimentation, as improvisation is explored to deepen understanding of musical style, form, interpretation, and musicianship in preparation for their musical career.  

This unit is an ‘extra’ unit, taken in addition to prescribed curriculum for the Diploma of Music and Bachelor of Music Degrees. The credit points for this unit will not contribute towards the completion of a qualification. 

Credit Points: 3
Trimester 3

As for Performance Major 1A & 2A, in Performance Major 3A, students will continue to develop their technical expertise in a secondary instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental lessons (1 x 30min lesson per week). It is expected that the student will be able to exhibit a level of musicianship and craft superior to that demonstrated in Major Performance 2A. More attention is placed in this unit on audience engagement during performance.  

This unit is an ‘extra’ unit, taken in addition to prescribed curriculum for the Diploma of Music and Bachelor of Music Degrees. The credit points for this unit will not contribute towards the completion of a qualification. 

Credit Points: 3
Trimester 5

Ensemble 4 - PSP315

The necessity to constantly develop to a professional standard as a member of a band and as an individual player continues in Ensemble 4, to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 4, students will be required to collaborate, create and perform in an ensemble in three different contexts, including a live multi-track studio recording. A particular emphasis is placed on stagecraft and how group members communicate and interact on stage. This has two purposes. One is so their audience experiences a group performance, and the second is so students can explore the role of a musical director in performance settings. It is expected that students will be able to provide an insightful rationale as to their choice of repertoire and approach to performance, as well as engage in constructive critique of their own and others’ performances.  

Collaborative Recording Project 4 - PSP316

In Collaborative Recording Project 4 students continue to engage in collaborative music making, shifting the focus to inventive manipulation of sound through effect processing. The unit enables students to work collaboratively to create and record music using acoustic instruments alongside software.  

This unit includes aspects of group music creation and replication using software, piano skills via industry DAWs, key hardware devices and stylistic interpretation and arrangement. Students will develop planning skills and the ability to set specific, timely and achievable goals.  Attention is placed on learning basic communication and interaction skills. 

Credit Points: 3
Trimester 3

Ensemble 3 - PSP305

In Ensemble 3, students will continue to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week). The sequence of Ensemble subjects is designed so students can incrementally develop their technical proficiency, creativity and the development of their personal playing styles. Stage performance technique also continues to be refined, including movement, stage dialogue, microphone technique, musicianship and stage image. 

At this point in their development, students will be required to write their own original material for performance, as well as develop repertoire of their choice.

To assist this process, students can form ensembles of their own choice as it is expected they will be at an instrumental performance standard to make a significant contribution to the ensemble. 

Students will also work collaboratively with the other departments as part of a recording integration project. This is an opportunity to work with the other JMC Academy creative disciplines and develop new understanding and skills.

Collaborative Recording Project 3 - PSP306

In Collaborative Recording Project 3 students continue to engage in collaborative music making, shifting the focus to live instrumentation and ensemble recording. The unit enables students to work collaboratively to create and record music using acoustic instruments alongside software.

This unit includes aspects of group music creation and replication using software, piano skills via industry DAWs, and stylistic interpretation and arrangement. Students will develop planning skills and the ability to set specific, timely and achievable goals.  Attention is placed on learning basic communication and interaction skills.

Trimester 5

Choose from:

  • Music Cultures - PSP301
  • Lyrics & Songwriting - PSP302
  • Music Production Studies - PSP311
  • Performing and Creating with Ableton Live - PSP312
  • Lyrical Influences - PSP302 (Must have completed Lyrics & Songwriting - PSP302)
  • Arranging and Orchestration - PSP212
  • History of Western Music - PSP201
  • Tutoring Techniques - PSP406 
  • Composition Techniques - PSP407
  • Screen Sound and Music - PSP408
  • International Study Tour - COL400
  • Internship - COL401
  • E-Portfolio - COL402

Trimester 6

Choose from:

  • Music Cultures - PSP301
  • Lyrics & Songwriting - PSP302
  • Music Production Studies - PSP311
  • Performing and Creating with Ableton Live - PSP312
  • Lyrical Influences - PSP302 (Must have completed Lyrics & Songwriting - PSP302)
  • Arranging and Orchestration - PSP212
  • History of Western Music - PSP201
  • Tutoring Techniques - PSP406 
  • Composition Techniques - PSP407
  • Screen Sound and Music - PSP408
  • International Study Tour - COL400
  • Internship - COL401
  • E-Portfolio - COL402

Credit Points: 6
Trimester 5

The purpose of this unit is to comprehensively examine business principles and concepts for the contemporary musician, with the aim of establishing a sustainable professional practice. It will examine business models relevant to performance, songwriting and production environments, and to contemporary music professionals. Each student will be required to exercise critical thinking and judgment in identifying ongoing professional development requirements and opportunities.  

Credit Points: 12
Trimester 6

This unit will continue to develop the understanding of musical style, creativity, form, and interpretation, and begin to focus that into a clear artistic identity, career pathway, and representative product. There will be an emphasis on the development of original material and/or original arrangements, and the development of a range of repertoire. Students will demonstrate a higher stylistic understanding and incorporate advanced music concepts.   

The ultimate outcome of this two-part sequence of units (incorporating PSP 405 Large Project 1) will be a major project, which could include high-quality audio recording showcasing the student’s performing, songwriting, or production talents, and/or a live performance recital showcasing the student’s ability as a performer and bandleader.   

In Trimester 6, for Part 2 of this large project, students continue to work on their project through a series of one-on-one mentorship sessions in conjunction with a group seminar each week in order to plan, prepare, and produce their own musical project. This project is then delivered via a live performance, musical soundtrack, music and film project, exhibition, event, high-quality recording, or interactive material. 

Credit Points: 6
Trimester 5

This unit will continue to develop the understanding of musical style, improvisation, form and interpretation, and begin to focus that into a clear artistic identity, career pathway, and representative product. There will be an emphasis on the development of original material and/or original arrangements, and the development of a range of repertoire. Students will demonstrate a higher stylistic understanding and incorporate advanced music concepts.   

The ultimate outcome of this two-trimester long unit will be a major project, which could include high-quality audio recording showcasing the student’s performing, songwriting, or production talents, and/or a live performance recital showcasing the student’s ability as a performer and bandleader.   

In Trimester 5, for Part 1 of this large project, students maintain a series of one-on-one mentorship sessions in conjunction with a group seminar each week in order to plan, prepare, and produce their own project. Part of this project will be delivered at the end of this trimester (Trimester 5), which would be considered a portion of the final project that will be submitted at the end of Trimester 6.  

For example, a Performance student may spend Trimester 5 arranging and preparing their material for performance, then spend Trimester 6 rehearsing and polishing that set for a recital performance or event. A Songwriting student or Production student may spend Trimester 5 writing their material and submitting demos of their songs, then spend Trimester 6 producing and recording this material for their folio submission. 

In this unit, students will be encouraged to look beyond Western music conventions and examine a range of music traditions from around the world. Students will implement this information, and the skills gained in the music technology and Composing/Arranging streams, to write and/or record a ‘crossover’ piece of music utilising one or more Non-Western musical traditions.  

In essence the unit is an introduction to the specialist research field of Ethnomusicology whilst giving students a chance to further hone their composition/arranging skills. 

This unit continues to develop students’ conceptual knowledge and technical skills in songwriting, focusing on advanced melodic concepts and techniques, an understanding of complex harmony in popular music, and further creative and technical lyric writing concepts such as rhythm, phrasing, setting and metaphor. Students will further their ability to present their songs using industry standard lead sheets and demo recordings. Students will investigate the links between music, lyrics and meaning by analysing influential songwriters and their works.  

This unit will develop the ability to analyse and implement music production techniques. Through practical work and analysis, students undertake the production of new work and analyse and interpret their use of various techniques in the context of music production. The weekly content covers technical as well as historical contexts of music production, including the evolution of technology and recording techniques. This unit contributes to the degree by developing a deeper understanding of the techniques, aesthetics, methods and craft of music production.   

Successful completion of this unit empowers the student with the capacity to integrate music technologies using Ableton Live within their live performance and production work. Assessment tasks aim to enable students to adapt and apply use of the tools by current artists and then produce two works: one which is a recorded and mixed piece of audio, and another work which can be integrated effectively into a three to five-minute performance piece. Students will gain an understanding of a context in which music technology is currently used for contemporary music performance and will gain experience with the technical process which enables the merging of Ableton Live into their own creative work. 

This unit broadens the objectives of previous songwriting units, Songwriting and Arranging and Lyrics and Songwriting, incorporating an understanding of significant literary, written, aural and oral traditions and techniques of benefit to the contemporary songwriter. The purpose of this unit is to analyse the links between the modern songwriter and other types of expression in language from both the past and present, and the employment of techniques involved in the formation and execution of contemporary songs. The unit will also examine the songs of key contemporary songwriters, discovering their sources and influences to highlight artistic methodology, creativity and originality. Knowledge gained will potentially contribute to shaping each student’s approach to creative songwriting and may go on to inform their own original style. 

Must have completed elective unit Lyrics and Songwriting - PSP302

In building upon previous study in Composition and Arranging this unit will now introduce student to writing and arranging for Strings, Woodwind and Brass. The practical skills covered in this course require students to continue their musical notational, aural, conceptual and analytical skills in order to craft a skilled arrangement for a range of instruments. There is also a continued focus on contemporary music theory, advanced harmonic and melodic concepts.  

The purpose of this unit is to provide students with a comprehensive historical and cultural overview of Western Art Music. It is important to understand the historical context of the periods and how they influenced musical development, to enable students to communicate with other musicians and develop a conceptual framework for describing music and its stylistic characteristics. The different periods of music will be discussed and analysed looking at musical characteristics such as: use of key, harmony, instrumentation, texture, dynamics, melody, phrasing, ornamentation, articulation, form and rhythm. These musical eras will be put into context with the political, social, philosophical and artistic cultures of each period. The unit will cover ancient and medieval music to music of the 21st Century. 

This unit provides the student with the opportunity to look at the techniques and challenges associated in private music instruction. The unit includes development of knowledge and understanding of pedagogical techniques, lesson planning, structure and evaluation, practice techniques, student motivation, examination syllabus, physical and digital resources and planning for developing a private teaching enterprise. 

In this unit, students will develop an understanding of advanced concepts in compositional styles and apply these within the assessment tasks. The content of this unit focuses on the advanced modal, melodic and harmonic theory and compositional application within jazz and progressive contemporary music, and also the rhythmic and structural compositional methodology drawn from 20th and 21st century art music and its various sub-movements. The unit builds on skills learned by students in PSP202 Songwriting and Arranging and PSP302 Lyrics and Songwriting but expands the concepts of songwriting to include more advanced compositional concepts, with an emphasis on experimentation and using scoring as a compositional tool. Students create their own compositions which demonstrate an advanced understanding of the principles and exploration of melody, harmony, rhythm, and form and structure. 

This unit enables students to develop their conceptual knowledge and technical skills in understanding and composing music to convey specific emotions and aesthetics for a variety of productions. Students are required to apply these skills to the preparation and recording of music for a screen project. The unit follows on from the fundamental skills of composition and production that students were introduced to in previous theory and technology units. Students also develop knowledge of the relationship between music and a variety of visual scenarios and the scoring possibilities within each context. The unit looks at media involving film and television, video games, web sites, commercials, animation and other new media. Students learn how to master the technical and musical skills needed to create effective music for each type of media. During this unit there is scope for students to integrate with other departments in collaborative projects or work with pre-existing media. 

(by application only)

COL401 Internship aims to provide students with an internship opportunity that has sound educational value and provides students the chance to initiate and/or develop relationships with professionals in their discipline. COL401 allows students to prepare or consolidate their know-how to work as a professional and increase their technical and creative skills base. It also allows students to explore potential areas of employment.   

In this unit the National Society for Experiential Education’s definition of “internship” is used. This is internship is a carefully monitored volunteering or working experience where an individual has intentional learning goals and reflects actively on what they are learning throughout the experience. For this reason, beside the time students spend during their internship, they will also spend self-study time. They will reflect upon their awareness of applying theory to practice during their internship, practicing their ability to evaluate situations, critical thinking, and effective communication of their decision-making.   

Students will also elaborate a professional plan where they explain their aspiring professional development goals and the activities that would assist them to achieve these under the guidance of their Internship Coordinator/Supervisor.    

(by application only)

This subject is a special project based on research, experiences and learning undertaken in conjunction with the overseas academic partners and JMC Academy.  Students will be immersed in two weeks of educational experiences prior to JMC Academy trimester start, hosted by the overseas academic partners. They will cover a range of topics, skills and knowledge taught by industry experts and educators in the students’ area of study (Entertainment Business Management, Music, Design, Film and Television, Audio Engineering, Animation and Game Design). 

On completion of the two weeks of study, students will continue with a 12 week special project on campus at JMC Academy in Australia. 

Individual projects are based on a specific project topic of the student’s choice made in consultation with their term supervisor. That is then developed over the length of the subject. Students will be supervised and will work in conjunction with their supervisor to complete their project (Academic or Practical).

Context

At JMC Academy, students undertake a rigorous academic program of practice-based learning, into which is embedded a range of work-integrated learning activities. To complement their on-campus learning, students are also encouraged to generate their own creative work. This unit of study has been designed to formally recognise that work. Students will have access to an e-portfolio as a presentation mode for the assessable items. The unit is placed during the final study periods of the bachelor’s degree, enabling students to collect and display their best and most recent examples of their engagement with their discipline outside of their formal study.

 

How it works 

Students are introduced to this unit during Trimester 1 and then again in successive study periods. Students must be invited by their Head of Department to enrol in this unit; a student will only be enrolled in this unit if the Head of Department is confident that the student can meet all learning outcomes. The e-portfolio JMC students will be given access to an e-portfolio platform at no cost as part of the Microsoft365 subscription. The platform provides students with a place to curate and display their extra-curricular activities for assessment in this unit. It is not the professional portfolio students could use COL401 Internship aims to provide students with an internship opportunity that has sound educational value and provides students the chance to initiate and/or develop relationships with professionals in their discipline. COL401 allows students to prepare or consolidate their know-how to work as a professional and increase their technical and creative skills base. It also allows students to explore potential areas of employment.



Our Lecturers

James O'Brien

Head of Music (Melbourne)

James graduated with a Bachelor of Music (performance) from the Queensland Conservatorium in 2001 and immediately began work as a touring musician successfully traversing the jazz and popular music worlds. With modern piano trio Misinterprotato, James toured around Australia, the U.S., Canada and Japan and contributed to the group's first two releases through the Melbourne based Jazzhead label.

As singer and songwriter in Brisbane-Melbourne based indie-pop group The Boat People, James has released three albums, toured the U.S. 8 times (including two trips to SXSW), the U.K. twice and supported many outstanding Australian and International acts including Powderfinger, Crowded House and The Shins. The Boat People have had 8 songs playlisted on national radio station Triple J and in 2007 James signed a publishing deal with Ivy League/Mushroom which has seen his songs used extensively in television and film.

In 2012, James co-wrote and sung the breakout single "Half of It" for producer duo YesYou which received high rotation radio play on Triple J. James currently works as touring bass player with avant-folk group Machine Translations and songstress Kate Miller-Heidke. With his new group Darling James, he produced and music directed the "8 First Dates" event at the 2014 Melbourne Fringe which featured guests Ainslie Wills, Angie Hart (Frente), Jae Laffer (The Panics) and many others. Darling James are about to release their debut single and recently opened for legendary Australian group, The Church.

James O'Brien

Head of Music (Melbourne)

James graduated with a Bachelor of Music (performance) from the Queensland Conservatorium in 2001 and immediately began work as a touring musician successfully traversing the jazz and popular music worlds. With modern piano trio Misinterprotato, James toured around Australia, the U.S., Canada and Japan and contributed to the group's first two releases through the Melbourne based Jazzhead label.

As singer and songwriter in Brisbane-Melbourne based indie-pop group The Boat People, James has released three albums, toured the U.S. 8 times (including two trips to SXSW), the U.K. twice and supported many outstanding Australian and International acts including Powderfinger, Crowded House and The Shins. The Boat People have had 8 songs playlisted on national radio station Triple J and in 2007 James signed a publishing deal with Ivy League/Mushroom which has seen his songs used extensively in television and film.

In 2012, James co-wrote and sung the breakout single "Half of It" for producer duo YesYou which received high rotation radio play on Triple J. James currently works as touring bass player with avant-folk group Machine Translations and songstress Kate Miller-Heidke. With his new group Darling James, he produced and music directed the "8 First Dates" event at the 2014 Melbourne Fringe which featured guests Ainslie Wills, Angie Hart (Frente), Jae Laffer (The Panics) and many others. Darling James are about to release their debut single and recently opened for legendary Australian group, The Church.

Kemo Bunguric

Head of Music (Sydney)

Kemo’s teaching methods and influence reflect his own passion and extensive skills in composition, arranging and music technology, especially since he is a piano accordion virtuoso and an Australasian Accordion Champion.

By the age of 13, Kemo had learned early on how important it was to market one’s self as a musician, a concept which he aims to instil in his students. Kemo ensures that his students understand how to develop themselves as well-rounded musicians and teaches them the importance of being progressive within the industry.

Kemo Bunguric

Head of Music (Sydney)

Kemo’s teaching methods and influence reflect his own passion and extensive skills in composition, arranging and music technology, especially since he is a piano accordion virtuoso and an Australasian Accordion Champion.

By the age of 13, Kemo had learned early on how important it was to market one’s self as a musician, a concept which he aims to instil in his students. Kemo ensures that his students understand how to develop themselves as well-rounded musicians and teaches them the importance of being progressive within the industry.

Will Day

Head of Music, and Entertainment Business Management (Brisbane)

Gritty. Grounded. Heartfelt. A stand-out performer. From energetic tracks such as the single ‘Countrified’ to emotive ballads like ‘Simple Then’ (with Brooke Schubert), it’s no surprise that Will is making an impact on the country music scene.  2021 has been a wild ride, with single ‘Countrified’ added to iHeartCountry and KIX Country with the song reaching #12 on the KIX Country Charts and ‘Simple Then’ added to ABC Country, reaching #9 on the KIX Country Charts and #5 on the Countrytown Hot 50 Charts. Both tracks are included on Will’s debut album ‘Countrified’ and will be accompanied by a national tour reaching every state over the next 12 months.

Will has opened for the likes of Morgan Evans, Shannon Noll, Diesel, Hoodoo Gurus, The Baby Animals, The Black Sorrows, Col Finley and The Viper Creek Band while also appearing at  Australia’s most iconic country music festivals, including Tamworth Country Music Festival, Groundwater Country Music Festival and Gympie Muster.

With a genuine gift of storytelling, combined with compelling vocals and the ability to connect with a crowd, Will Day is fast becoming one of Australia’s premier rising country artists and one that will undoubtedly be around for many years to come.

Will Day

Head of Music, and Entertainment Business Management (Brisbane)

Gritty. Grounded. Heartfelt. A stand-out performer. From energetic tracks such as the single ‘Countrified’ to emotive ballads like ‘Simple Then’ (with Brooke Schubert), it’s no surprise that Will is making an impact on the country music scene.  2021 has been a wild ride, with single ‘Countrified’ added to iHeartCountry and KIX Country with the song reaching #12 on the KIX Country Charts and ‘Simple Then’ added to ABC Country, reaching #9 on the KIX Country Charts and #5 on the Countrytown Hot 50 Charts. Both tracks are included on Will’s debut album ‘Countrified’ and will be accompanied by a national tour reaching every state over the next 12 months.

Will has opened for the likes of Morgan Evans, Shannon Noll, Diesel, Hoodoo Gurus, The Baby Animals, The Black Sorrows, Col Finley and The Viper Creek Band while also appearing at  Australia’s most iconic country music festivals, including Tamworth Country Music Festival, Groundwater Country Music Festival and Gympie Muster.

With a genuine gift of storytelling, combined with compelling vocals and the ability to connect with a crowd, Will Day is fast becoming one of Australia’s premier rising country artists and one that will undoubtedly be around for many years to come.

Thomas Combes

Senior Audio Lecturer and Music Lecturer

Music has been a passion of Thomas' since he picked up his first guitar at the tender age of 10. Fast forward 17 years and Tom’s phenomenal finger-style playing, subtle tone and seasoned musical taste push the boundaries of what is possible on an acoustic guitar. His unique style of playing incorporates finger picking with simultaneous percussion on the soundboard to create a detailed wall of sound.

Tom has toured nationally as an in-demand session player, played on the main stage of several music festivals and has had his signature guitar playing recorded on several albums. These accomplishments have been complemented with his in-depth Audio Engineering and Production knowledge obtained through his degree in the Bachelor of Popular Music at Griffith.

Tom now resides in Brisbane where he lectures Audio classes and teaches guitar at JMC Academy.

Thomas Combes

Senior Audio Lecturer and Music Lecturer

Music has been a passion of Thomas' since he picked up his first guitar at the tender age of 10. Fast forward 17 years and Tom’s phenomenal finger-style playing, subtle tone and seasoned musical taste push the boundaries of what is possible on an acoustic guitar. His unique style of playing incorporates finger picking with simultaneous percussion on the soundboard to create a detailed wall of sound.

Tom has toured nationally as an in-demand session player, played on the main stage of several music festivals and has had his signature guitar playing recorded on several albums. These accomplishments have been complemented with his in-depth Audio Engineering and Production knowledge obtained through his degree in the Bachelor of Popular Music at Griffith.

Tom now resides in Brisbane where he lectures Audio classes and teaches guitar at JMC Academy.

Simon Gardner

Senior Music Lecturer

Simon Gardner is one Brisbane’s premier rock guitarists and pre-eminent guitar teachers. He is also full-time Theory Lecturer, Guitar Tutor and Ensemble Coordinator at JMC Academy Brisbane. As an artist, Simon has 5 albums and 3 singles . His most recent releases “You Know Why I Asked You Here” and “Reflections on a Winter Sky” are featured in Australian Musician online Magazine and Candyrat Records Youtube channel.

Simon also performs regularly across a range of styles as a freelance guitarist and is Musical Director for theatre rock shows, "Good Morning Vietnam - Music from the Vietnam War Era" and "Simon Gardner's Classic Rock Legends"

Simon Gardner

Senior Music Lecturer

Simon Gardner is one Brisbane’s premier rock guitarists and pre-eminent guitar teachers. He is also full-time Theory Lecturer, Guitar Tutor and Ensemble Coordinator at JMC Academy Brisbane. As an artist, Simon has 5 albums and 3 singles . His most recent releases “You Know Why I Asked You Here” and “Reflections on a Winter Sky” are featured in Australian Musician online Magazine and Candyrat Records Youtube channel.

Simon also performs regularly across a range of styles as a freelance guitarist and is Musical Director for theatre rock shows, "Good Morning Vietnam - Music from the Vietnam War Era" and "Simon Gardner's Classic Rock Legends"

Cameron Bower

Senior Music Lecturer

Cameron Bower is a composer, producer, songwriter and improvising musician from Brisbane. His principle projects include work with Big Dead (2010 -) and Milk Buttons (2015 -) and is the artistic director and principle composer for New Music/Jazz ensemble Cowbird (2016 -).

As a composer he works within a world of improvised and composed forms, electronic and rock music, synthesising his tendency towards jazz and improvised music with the formal structures of contemporary classical idioms and techniques. As a producer he works in electronic/ambient and alternative rock contexts.

Cam teaches composition, piano and guitar as part of the Browning Street Music and Dance Teachers cooperative and works as a Sessional Academic at QUT and JMC lecturing on topics from music theory and composition to history and aural studies.

Cameron Bower

Senior Music Lecturer

Cameron Bower is a composer, producer, songwriter and improvising musician from Brisbane. His principle projects include work with Big Dead (2010 -) and Milk Buttons (2015 -) and is the artistic director and principle composer for New Music/Jazz ensemble Cowbird (2016 -).

As a composer he works within a world of improvised and composed forms, electronic and rock music, synthesising his tendency towards jazz and improvised music with the formal structures of contemporary classical idioms and techniques. As a producer he works in electronic/ambient and alternative rock contexts.

Cam teaches composition, piano and guitar as part of the Browning Street Music and Dance Teachers cooperative and works as a Sessional Academic at QUT and JMC lecturing on topics from music theory and composition to history and aural studies.

Chloe Harrison

Ensemble Coordinator

Previously hailing from Sydney, Chloe Harrison is now a Melbourne-based singer-songwriter, producer, composer, and voice actor.

Chloe started her career young, starting voice acting at 6 years old, working on hundreds of advertising campaigns for TV, radio, and cinema, as well as two seasons of an animated series that was aired internationally. She later moved towards music, starting work as a session singer.


After completing her undergraduate degree in Composition and Production, she started her own production company, in the first year recording 3 albums, 4 EP’s and several singles for independent artists in both Sydney and Rural NSW. She then embarked on her post-graduate studies in composition, while lecturing, performing, and working as a producer.

More recently, she has moved into working as a composer, sound designer, and voice actor for video games, while continuously working on her own original music.

Chloe Harrison

Ensemble Coordinator

Previously hailing from Sydney, Chloe Harrison is now a Melbourne-based singer-songwriter, producer, composer, and voice actor.

Chloe started her career young, starting voice acting at 6 years old, working on hundreds of advertising campaigns for TV, radio, and cinema, as well as two seasons of an animated series that was aired internationally. She later moved towards music, starting work as a session singer.


After completing her undergraduate degree in Composition and Production, she started her own production company, in the first year recording 3 albums, 4 EP’s and several singles for independent artists in both Sydney and Rural NSW. She then embarked on her post-graduate studies in composition, while lecturing, performing, and working as a producer.

More recently, she has moved into working as a composer, sound designer, and voice actor for video games, while continuously working on her own original music.

Shannon Brown

Senior Music Lecturer

Former tenor and Musical Director for the internationally acclaimed group The Ten Tenors, Shannon toured full-time for six years, performing an average of 250 shows per year across five continents.

Recorded a Platinum-selling album 'Here's To The Heroes' at Abbey Road Studios with the London Symphony Orchestra and launched the album performing at the Royal Albert Hall.

Shannon has recorded with Sting’s guitarist, Dominic Miller. American drummer, Vinnie Colaiuta. ‘Songwriters Hall of Fame’ lyricist, Don Black OBE, and Academy Award & Golden Globe winner, John Barry OBE.

Shannon has worked with Australia’s Guy Sebastian and Paulini Curuenavuli. John Foreman OAM, Chong Lim AM, James Morrison AM & Producer, Ken Laing AM. He has toured with Country star Jasmine Rae and been the Musical Director for the 2013 winner of The Voice, Harrison Craig.

Shannon continues to work with Australia’s Got Talent Winner, Mark Vincent, as his Musical Director for over 11 years.

Shannon Brown

Senior Music Lecturer

Former tenor and Musical Director for the internationally acclaimed group The Ten Tenors, Shannon toured full-time for six years, performing an average of 250 shows per year across five continents.

Recorded a Platinum-selling album 'Here's To The Heroes' at Abbey Road Studios with the London Symphony Orchestra and launched the album performing at the Royal Albert Hall.

Shannon has recorded with Sting’s guitarist, Dominic Miller. American drummer, Vinnie Colaiuta. ‘Songwriters Hall of Fame’ lyricist, Don Black OBE, and Academy Award & Golden Globe winner, John Barry OBE.

Shannon has worked with Australia’s Guy Sebastian and Paulini Curuenavuli. John Foreman OAM, Chong Lim AM, James Morrison AM & Producer, Ken Laing AM. He has toured with Country star Jasmine Rae and been the Musical Director for the 2013 winner of The Voice, Harrison Craig.

Shannon continues to work with Australia’s Got Talent Winner, Mark Vincent, as his Musical Director for over 11 years.

Jane Gazzo

EBM And Music Lecturer

Jane Gazzo wears many hats in the world of music and entertainment. As a music journalist, TV presenter, author, MC, DJ and public speaker, she's a true industry legend. Jane extends her expertise as both an Entertainment Business and Music Lecturer at JMC Academy. Jane's remarkable accomplishments include multiple nominations for the AWMAs Music Journalist Award, with a notable win in 2023 - a clear indicator that she is one of the absolute best in the business.

Jane Gazzo

EBM And Music Lecturer

Jane Gazzo wears many hats in the world of music and entertainment. As a music journalist, TV presenter, author, MC, DJ and public speaker, she's a true industry legend. Jane extends her expertise as both an Entertainment Business and Music Lecturer at JMC Academy. Jane's remarkable accomplishments include multiple nominations for the AWMAs Music Journalist Award, with a notable win in 2023 - a clear indicator that she is one of the absolute best in the business.

Kim Salmon

Music Lecturer

In 1976, Kim Salmon formed Perth’s first punk band the Cheap Nasties, who later became The Manikins. Salmon’s work with The Scientists in the 1980s influenced grunge music in a big way, with the band rising to prominence around Seattle, US, before impacting on popular music in the early 1990s.

The Scientists relied on unorthodox bass-heavy rhythms and distorted guitars, the latter being a direct precursor for grunge. The term itself was coined by Salmon in the mid-1980s to describe The Scientists’ sound, as noted in a documentary on Australian music, Long Way to the Top (2001).

Kim Salmon

Music Lecturer

In 1976, Kim Salmon formed Perth’s first punk band the Cheap Nasties, who later became The Manikins. Salmon’s work with The Scientists in the 1980s influenced grunge music in a big way, with the band rising to prominence around Seattle, US, before impacting on popular music in the early 1990s.

The Scientists relied on unorthodox bass-heavy rhythms and distorted guitars, the latter being a direct precursor for grunge. The term itself was coined by Salmon in the mid-1980s to describe The Scientists’ sound, as noted in a documentary on Australian music, Long Way to the Top (2001).

Rick Grossman

Music Lecturer

For the past 35 years, Rick has worked as a professional musician, spending five years (1982-1987) as a bass guitarist for Divinyls, and then in 1988 Rick began playing bass for the Hoodoo Gurus. From 1990 onwards Rick has been involved with a side project, Ghostwriters, along with Rob Hirst from Midnight Oil.

Rick has toured both Australia and internationally with the likes of Jimmy Barnes and Men at Work and produced Albums such as ‘Caution: Life Ahead, Artists for Recovery’, a collection of Australian artists to raise awareness for drug rehabilitation.

He has been inducted twice to the ARIA Hall of Fame, in 2007 for his work with Hoodoo Gurus, and also in 2006 for his work with Divinyls.

At JMC Academy, Sydney Campus, Rick teaches Band ensemble and encourages his students to follow their passions and always have commitment, creativity and to write original material.

Rick Grossman

Music Lecturer

For the past 35 years, Rick has worked as a professional musician, spending five years (1982-1987) as a bass guitarist for Divinyls, and then in 1988 Rick began playing bass for the Hoodoo Gurus. From 1990 onwards Rick has been involved with a side project, Ghostwriters, along with Rob Hirst from Midnight Oil.

Rick has toured both Australia and internationally with the likes of Jimmy Barnes and Men at Work and produced Albums such as ‘Caution: Life Ahead, Artists for Recovery’, a collection of Australian artists to raise awareness for drug rehabilitation.

He has been inducted twice to the ARIA Hall of Fame, in 2007 for his work with Hoodoo Gurus, and also in 2006 for his work with Divinyls.

At JMC Academy, Sydney Campus, Rick teaches Band ensemble and encourages his students to follow their passions and always have commitment, creativity and to write original material.

Olivia Nathan

Music Lecturer

Olivia is one of Melbourne’s most versatile freelance vocalists. With her silky smooth, soulful tones, Olivia has wowed audiences all over Melbourne, whether it is at a corporate event, wedding, nightclub, lounge or pub gig.

Singing since the age of 4, Olivia began performing at the age of 6 and has worked in and around Melbourne as well as interstate in various bands for the last 23 years.

Olivia studied music at Latrobe University and it was upon meeting fellow musician Robert John Sedky that she was introduced to a new network of musicians. Since that time 18 years ago, her music network has expanded immensely and she’s been lucky enough to work with some of the most talented musicians in Melbourne.

In 1999, Olivia and her then music partner formed a soul/rap rnb duo, Soul Class. They were signed to Molly Meldrum’s label, Melodian, a division of the then Mushroom Records. They released a single “You Left Me Behind” with Melodian then released “Downtown” the following year independently. Soul Class did many support shows, which were for acts such as Vanessa Amorosi.

Since the disbandment of Soul Class in 2001, Olivia has been freelancing with an array of different bands all around Melbourne. She has also performed as a backing vocalist for many other artists such as Vanessa Amorosi, Katie Cole, Tommy Rando, Josh Owen Band & Jade MacRae to name a few.

Olivia Nathan

Music Lecturer

Olivia is one of Melbourne’s most versatile freelance vocalists. With her silky smooth, soulful tones, Olivia has wowed audiences all over Melbourne, whether it is at a corporate event, wedding, nightclub, lounge or pub gig.

Singing since the age of 4, Olivia began performing at the age of 6 and has worked in and around Melbourne as well as interstate in various bands for the last 23 years.

Olivia studied music at Latrobe University and it was upon meeting fellow musician Robert John Sedky that she was introduced to a new network of musicians. Since that time 18 years ago, her music network has expanded immensely and she’s been lucky enough to work with some of the most talented musicians in Melbourne.

In 1999, Olivia and her then music partner formed a soul/rap rnb duo, Soul Class. They were signed to Molly Meldrum’s label, Melodian, a division of the then Mushroom Records. They released a single “You Left Me Behind” with Melodian then released “Downtown” the following year independently. Soul Class did many support shows, which were for acts such as Vanessa Amorosi.

Since the disbandment of Soul Class in 2001, Olivia has been freelancing with an array of different bands all around Melbourne. She has also performed as a backing vocalist for many other artists such as Vanessa Amorosi, Katie Cole, Tommy Rando, Josh Owen Band & Jade MacRae to name a few.

This course was different - very diverse! There was the singing, stagecraft and learning how to audio produce. It's helped me tour the world with my music.
Timomatic (Tim Omaji) - ARIA Award nominee, Urban Artist, Singer, Songwriter, Dancer/Choreographer
Music Alumni
The way I have been taught music here has changed my life. I try to inspire my own music students in the same way.
Mickey Pye - Principal, Bathurst College of Music, Toyota Starmaker Winner 2015
Music Alumni
JMC Academy has provided me with the ability to recognise good opportunities, to not shy away from the challenging ones and to be adaptable to changes in the industry.
Amara Primero - Composer for Screen
Music Alumni

Are you ready to take the next step toward your career in Music Performance?

FAQs

If you are a vocalist, you are not required to play an instrument. However, if you have selected to play an instrument other than voice as part of your studies, your eligibility will be determined during the audition process. All successful applicants will be provided the tuition you need to progress through the course.

If you prefer to compose music electronically or use a DAW as your instrument, you should check out our Music Production course.

No, our courses are hands on and practical. Students are required to attend classes to receive ongoing mentorship, learn new skills and work with the equipment provided. We do encourage our students to use online study resources, however our courses would not be as immersive as they are without the practical component.

No. For those with little or no theory background, we'll teach you what you need to know from the ground up. We also offer a program during orientation week which provides a crash course to help you get started if theory isn’t your strong point. Additional support throughout your course will be available.

Yes. The JMC Academy is registered and regulated by the Tertiary Education Quality and Standards Agency (TEQSA) which is Australia’s independent national regulator of the higher education sector, both public and private.

This depends on what you’re auditioning with – there are different requirements for vocals vs instruments for example, so check with your admissions advisor as to what you will need to bring to your audition.

To make the best of the audition - practice! Play something that you’re comfortable with and know well. Don’t bite off more than you can chew. Don’t base your audition song on what you think we want to hear – we want to see who you are as an artist, so choose a song that you love playing and that shows your own unique style. Make sure you’ve brought everything you need. Don’t stress. We want you to do well and will try to make you feel as comfortable as possible.

Definitely. As part of the application process we conduct auditions which will help determine your level. Vocal ability is subjective and everyone is their own worst critic, so we encourage you to come along and show us what you’ve got...keeping in mind that we don’t expect you to be an accomplished performer or finished artist. It's our job however to get you there!

You will work with three main types of software - Sibelius, ProTools and Ableton.