An introduction to concepts and contexts to music education with an emphasis on a critical examination of current practice. Introduction to the basics of various approaches to music teaching and learning.
An introduction to concepts and contexts to music education with an emphasis on a critical examination of current practice. Introduction to the basics of various approaches to music teaching and learning.
Introductory study of violin and viola.
Introductory study of the clarinet.
Introductory study of the trumpet.
Introductory study of the guitar. Pedagogical considerations for class guitar instruction in popular and classical guitar styles.
A practice-based course that develops competency in the playing of chord progressions, simple accompaniments, combinations of parts from open choral scores, combinations of transposing parts from instrumental scores, simple sight harmonization of songs, playing by ear, improvisation, and ensemble playing. A music notation software project will be introduced. This course is limited to those with piano skills at a level equivalent to RCM Level 8 or below.
Introductory study of voice production with attention to breathing technique, tone development and vocal diction. This course focuses on the development of the singing voice for students seeking a basic understanding of how the voice works for singing. Recommended for music education, instrumental, keyboard and composition students interested in singing.
Introductory study of vocal methods for teaching young choirs with attention to breathing techniques, tone production, vocal diction and rehearsal pedagogies relevant to working with children and youth choirs. Recommended for all students interested in learning to work vocally with young singers, ages 6-16.
This course introduces students to theoretical inquiry in music education in the context of diversity related to students, teachers, music, and music educational settings. Through course readings, individual research, classroom interactions, presentations, and writing short essays, students critique existing theories, and develop concepts articulating their own theories of music education that take into account relevant social, political, and ethical questions.
This course provides an advanced study of the psychological bases of music education. Students will critically reflect on the strengths and weaknesses of prevailing psychological theories in the context of music teaching and learning. Through seminar presentations, research, and the examination of scholarly literature, students will explore the field of music psychology.
Introductory study of the French horn.
Introductory study of the trombone.
Introductory study of the tuba.
Introductory study of the cello.
Practical study of percussion instruments. Care and maintenance of instruments and equipment. Ensemble playing.
Introductory study of the flute.
Introductory study of the oboe.
Introductory study of the saxophone.
Introductory study of the bassoon. One hour, one term.
Introductory study of the double bass. One hour, one term.
The study and practice of choral music with an emphasis on teaching and learning in school and community choral settings. The course will focus on conducting, programming and score study with an emphasis on rehearsal pedagogy.
The course focuses on developing pianistic, musical and verbal skills in order to succeed in a broad spectrum of collaborative opportunities during a professional career. In-class accompanying presentations and lectures introduce students to professional musician/teacher requirements through collaborative training. Practical experience in improvisation, sight-reading. Assignments appropriate to level of keyboard facility.
A study of techniques for the instruction and administration of wind and string instrumental programs. Analysis and performance of beginning and intermediate band and string orchestra repertoire.
Development of improvisation skills through applied performance and theoretical analysis in a variety of jazz styles.
This course provides an introduction to the philosophical underpinnings and practice-based theories of music education for children. Students will have the opportunity to study the development of musicianship in childhood and explore common theories and educational approaches through seminars, observations, composition and performance experiences, and microteaching opportunities.
This course provides a multitude of approaches to music teaching and learning including informal music learning, music technology, community music and improvisatory and creative musical activities in music classrooms. Students will actively create and perform music while crafting a well-rounded curriculum based on the ideas derived from the course. Philosophical underpinnings of such practices will also be examined.
This course focuses on the pedagogy of Dalcroze Eurhythmics, a music education approach that examines the intrinsic relationships between physical movement and the learning/performing of music. Students make a kinaesthetic connection to a wide variety of music through invigorating combinations of free movement, choreography, singing, conducting, improvisation and music games.
This course takes the Calls to Action from the Truth and Reconciliation Commission as the Foundation for Curriculum and Pedagogy in Music Education. Students will lead seminars on topics related to their research interest and examine current issues facing Indigenous Peoples through the lens of Reconciliation.
An introduction to modes of research in music education, with particular reference to principles of research design and effective research procedures. Students will prepare critiques of research material and will be guided in designing research projects.
An examination of the evolution of the Wind Band from Medieval to contemporary periods. The first half of the course focuses on the Wind Band's artistic and social roles to 1900. The second half of the semester explores significant repertoire since 1900, as well as the more important ensembles, composers, visionaries, and developments.
This course provides a reflective practicum experience in unique urban settings. Under the mentorship of professional community music teachers, students assist and lead music-making sessions with youth from the Regent Park School of Music and/or youth residing in detention centers. Students have the opportunity to investigate how music is an important tool for social justice.
The study of choral literature and conducting technique with an emphasis on European classical and Contemporary choral music (including selected choral-orchestral repertoire). The weekly class will meet in a combined literature seminar and conducting practicum with piano and/or small instrumental ensemble.
The study of choral literature and conducting technique with an emphasis on European classical and Contemporary choral music (including selected choral-orchestral repertoire). The weekly class will meet in a combined literature and seminar and conducting practicum with piano and/or small instrumental ensemble.
This course provides a community-based experience that will enable students to merge theory and practice in music education. Students will volunteer for three hours a week in a community music or school setting of their choosing. Placements must be approved by the instructor during the first week of classes.
Students will undertake a unique internship opportunity in partnership with the Toronto District School Board and the Marigold Team (a Black-led organization with a mission to change the visual landscape of music education). Students will lead a series of music education workshops, in schools identified as high needs, that explore culturally relevant and culturally responsive music education through an anti-oppression and anti-racism lens. The focus will be on prioritizing the socio-emotional awareness and well-being of students, while facilitating conversations about historical practices in music education that value one form of musicking over another. Students will be mentored by leaders in Equity, Diversity, and Inclusion. Placements must be approved by the instructor during the first week of classes.
Practical instrumental lab. Selected lecture topics related to teacher effectiveness in an instrumental program. In-field observation and participation.
A seminar exploring music's social nature, with special attention to the ways culture influences music perception, cognition, and value, and the way musical practices in turn influence culture and social relations. Issues addressed include: music education as intercultural education; music, gender, and power; the educational implications of cultural relativity; music education as an agent of social reproduction and/or transformation; social relations implicit in various musical and instructional practices; and music education's moral significance. Emphasis is placed on practical pedagogical applications of world music.
The focus will be on developing music teaching and learning strategies for welcoming young children across the developmental periods of early childhood, middle childhood, and adolesence into the diverse human practice of musicking. This course offers an alternative to traditional methodologies by encouraging students to develop their own orientation based on a critical examination of bell hooks’s philosophy of education as the practice of freedom as well as antiracist and anti-oppressive approaches to music education. Students will build teaching expertise through peer teaching and reflective examination of current practices. Lectures and assignments will include exploring diverse repertoire for students in the elementary grades and an examination of the current research in the field of elementary music education. As part of this course, students are expected to submit a research paper, present a seminar discussion on a chosen topic relating to music in childhood as well as submit and present an individual “teaching project.” The welcoming project will be the preparation of a collection of repertoire and teaching materials.
An intensive research project under the supervision of a faculty member. The project must be academically demanding and uniquely suitable for the individual student. Students propose a topic that is currently not covered in the curriculum or one that warrants further exploration related to research interests and/or musical goals. Available to students in 4th year on successful completion of several EMU courses; minimum cumulative GPA of 3.3 (B+) and availability of a full-time faculty advisor from the Music Education division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.
An examination of musical thought and practice in non-Western and Western traditions.
Western music from 1750 to the present.
Western music up to 1750.
Musicology as a field developed alongside Western celebrity culture in the late eighteenth and early nineteenth centuries. This course uses celebrity as a framework to explore topical musicological concerns, from the history of the Western canon to current constructions of value. It does so by exploring the intersections of celebrity and music, with issues such as gender, sexuality, race, and class, from the likes of Handel and Liszt to Joséphine Baker and Lizzo.
Begins with an introduction to traditional Korean music. Considers the class structure of late nineteenth-century Korea and the concomitant development of court, aristocratic and folk genres with the onset of Korean modernity. Second half focuses on popular music and studies the evolving place of music in Korean life.
In the last 50 years, opera has developed from an artistic medium often thought of as elitist and archaic to a vibrant and evolving artform encompassing increasingly diverse voices and narratives. Students will explore the flourishing of alternative approaches to opera creation in the late twentieth and early twenty-first centuries, focusing on how the genre has evolved in radically different directions in three core areas: musical and aesthetic practices, subject matter, and the opera industry. Topics include: feminist opera; opera and politics; intercultural opera; opera, film, and media; “indie” opera, and site-specific opera. The repertoire covered will centre primarily on Europe and North America, but the course places strong emphasis on exploring operatic practices from a transnational and global lens.
This course explores the intersection of sound, listening, and urban environment through a selective survey of contemporary scholarship from ethnomusicology, sound studies, anthropology of sound, cultural geography, and urban studies. Class discussions, assigned readings, audio-visual examples, and lectures will build a theoretical understanding of sound’s relation to issues of identity, culture, politics, representation, power, media, gender, race, and urban space. Students will receive hands-on research methods training as they conduct ethnomusicological research in downtown Toronto. Students will be guided in designing a research project and conduct field research, interviews and soundwalks. They will materialize research results as presentable audio(visual) media.
Study of music in North American life. Topics may include folk and popular music, jazz and art music.
Global Popular Musics is an introduction to popular music in its social and cultural context in a variety of international settings. Genres to be covered may include, but are not limited to, rock, hip-hop, country, and “world music”. The course will take an issues-based approach to the study of popular music, focusing on topics such as the interplay of tradition and modernity; media and technology; race, gender, sexuality, class, and other facets of identity; urbanization and migration; and the markets and legal structures surrounding music.
This course introduces students to the interdisciplinary field of sound studies by exploring how people perceive and engage with everyday sounds, especially in urban settings. Topics may include, but are not limited to noise, silence, acoustic communities, soundscapes, media, and various sound technologies.
A comprehensive survey of sacred and secular polyphony (1400-1600), including topics or independent research.
Pre-classical composers, Haydn, Mozart, Beethoven (1720-1830), including topics for individual research.
An undergraduate seminar devoted to exploring an emergent sub-field of ethnomusicology. The sub-field to be explored will rotate, but some examples are: the study of music and gender, race, or class; music and language; music and violence; sociomusicology; medical ethnomusicology; the ethnomusicology of popular music and technology; analytical approaches in ethnomusicology.
Instrumental and vocal genres (1600-1750), including topics for individual research.
An intensive research project under the supervision of a faculty member. The project must be academically demanding and uniquely suitable for the individual student. Students propose a topic that is currently not covered in the curriculum or one that warrants further exploration related to research interests and/or musical goals. Available to students in 4th year on successful completion of the core HMU requirement plus at least 1.0 credit in HMU courses at the 300 level or higher, minimum cumulative GPA of 3.3 (B+), and availability of a full-time faculty advisor from the History & Culture division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.
The study of harmony, melody and counterpoint in both traditional and jazz musical forms. Written and analytical studies of music from various jazz idioms and traditional repertoire.
Corresponding with materials studied in JMU100Y. Melodic, harmonic and rhythmic dictation; sight singing. Transcription of jazz solos and group performances.
Basic keyboard skills for jazz majors who play instruments other than piano. Credit for the course may be obtained by passing an examination.
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.
Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum
The study of harmony, melody and counterpoint in both traditional and jazz musical forms. Written and analytical studies of music from various jazz idioms and traditional repertoire.
Jazz History I begins with Ragtime era (early 20th century), and proceeds through the Jazz Age (1920s), Swing (1930s), Bebop (1940s), and Post Bop periods (1950s), culminating in the pivotal musical year of 1959. A historical timeline shows how the evolution of the music reflected and influenced societal events.
Jazz History II begins in the 1960s with the music that ushered in the modern era of jazz (Miles Davis Quintet, free/avant-garde, jazz-rock). It explores the myriad paths and styles that have been incorporated by jazz musicians of the past fifty years, up to the present day.
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.
Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum
A continuation of JMU201Y1, this course addresses advanced ear training and theoretical concepts including "upper structure" voicings/chord extentions which are commonly found in post-bebop and contemporary jazz harmony. Analysis and performance of the work of influential composers such as Wayne Shorter and Kenny Wheeler will be central in this course.
This course focuses on methods for students to expand their rhythmic vocabulary as improvisers and composers. Motivis development, rhythmic modulation and odd time signature playing will be addressed. Analysis and performance of the music of influential contemporary composers such as Dave Holland will be central to this course.
An introduction to jazz theory for music students not in a jazz program. Course includes analysis and written exercises in various jazz forms and idioms. Some listening and improvisation activities may be included to reinforce and apply theoretical concepts.
Instrumental and vocal arranging for various jazz ensembles from duos to large jazz band and studio orchestra. Two hours.
This course will focus on developing students’ leadership and instructional skills within the jazz genre. Through discussions, readings, case studies, and performance reviews, students will hone their ability to mentor musicians in ensembles, lectures, and one-on-one teaching environments, typical in the jazz discipline.
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons) and recital.
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered. One hour.
Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum
Studies leading to the development of a personal and creative compositional style. Analysis of selected compositions. Two hours.
To develop the skills necessary to produce arrangements for large ensembles. These principles of arranging will be applied to various combinations of instruments including but not limited to 5 saxophones, 5 trumpets, 4 trombones, guitar, piano, bass, drums, and voice.
Continuation of JMU420H1.
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).
Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons) and recital.
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered. One hour.
Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.
While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
An intensive research project under the supervision of a faculty member. The project must be academically/artistically demanding and uniquely suitable for the individual student. Students propose a topic that is currently not covered in the curriculum or one that warrants further exploration related to research interests and/or musical goals. Available to 4th year students, upon completion of 3rd Year Jazz curriculum with a minimum cumulative GPA of 3.3 (B+), and availability of a full-time advisor from the Jazz division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.
A survey of career paths that begin with an undergraduate degree in music. Discussion of the competencies required in various musical professions and strategies to develop them during undergraduate study. Classes led by members of the Faculty of Music teaching staff and guest lecturers.
In this course, we explore manifestations of expressive diversity in music, learn how it is shaped by human experience, and work towards developing tangible artefacts which reflect our personal vision of ourselves as creative professionals. Consisting of both individual and group exercises, assignments include video journals, debates, analytical writing, and a final project presented in-class, online, on stage, or in-community.
This course is a continuation of MMU200, designed to help students develop a personalized roadmap for future professional work. Assignments include creating a digital "Mini-festo," team debates, group role-playing exercises, video journals, analytical writing, and a major project.
Rehearsals for major operatic productions. Scenes or extracts from the operatic repertoire.
Individual and ensemble musical coaching for operatic performance majors.
Private instruction.
Theory and practice in acting technique, Alexander technique and pantomime.
Practical approach to phonetics and diction, as applied to the performance of French operatic repertoire. CR/NCR
Exercise in physical training and coordination, together with general movement and dancing. CR/NCR
Practical approach to phonetics and diction, as applied to the performance of Italian operatic repertoire. CR/NCR
Class instruction in basic and character make-up. Practical instruction as required in connection with specific performances. CR/NCR
Practical approach to phonetics and diction, as applied to the performance of German operatic repertoire. CR/NCR
A practical approach to phonetics and diction as applied to the performance of operatic repertoire in English. CR/NCR
Rehearsals for major operatic productions. Scenes or extracts from the operatic repertoire.
Individual and ensemble musical coaching for operatic performance majors.
Private instruction.
Theory and practice of acting technique, Alexander technique and pantomime.
Practical approach to phonetics and diction as applied to the performance of French operatic repertoire. CR/NCR.
Exercise in physical training and coordination, together with general movement and dancing. CR/NCR
Practical approach to phonetics and diction, as applied to the performance of Italian operatic repertoire. CR/NCR
Class instruction in basic and character make-up. Practical instruction as required in connection with specific performances. CR/NCR
Practical approach to phonetics and diction, as applied to the performance of German operatic repertoire. CR/NCR
A practical approach to phonetics and diction as applied to the performance of operatic repertoire in English. CR/NCR
Practical Study: rehearsals of major productions, scenes and extracts from the operatic repertoire.
Study of operatic repertoire with members of the Stage Directing staff. Students will be required to prepare & direct selected repertoire for performance and/or study.
Participation (with students taking OMU502Y1,602Y1,702Y1) in coachings of vocal ensembles & study of standard operatic repertoire with members of the music staff.
Participation (with students taking OMU510Y1, 601Y1, 701Y1) in rehearsals for major operatic productions, scenes and extracts from the operatic repertoire.
Rehearsals for major operatic productions. Scenes or extracts from the operatic repertoire.
Individual and ensemble musical coaching for operatic performance majors.
Private instruction.
Theory and practice in acting technique, Alexander technique and pantomime.
Practical approach to phonetics and diction, as applied to the performance of French operatic repertoire. CR/NCR
Exercise in physical training and coordination, together with general movement and dancing. CR/NCR
Practical approach to phonetics and diction, as applied to the performance of Italian operatic repertoire. CR/NCR
Class instruction in basic and character make-up. Practical instruction as required in connection with specific performances. CR/NCR
Practical approach to phonetics and diction, as applied to the performance of German operatic repertoire. CR/NCR
A practical approach to phonetics and diction as applied to the performance of operatic repertoire in English. CR/NCR
Practical Study: rehearsals of major productions, scenes and extracts from the operatic repertoire.
Continuation of OMU621Y
Participation (with students taking OMU502Y1,602Y1,702Y1) in coachings of vocal ensembles & study of standard operatic repertoire with members of the music staff.
A study of English, Italian, German, and French phonetics, with focus on authentic pronunciation for the stage.
Students learn to identify the anatomy, physiology, and development of the singing voice through classroom study, and then apply that knowledge in a mentored teaching project. Students examine the structural, functional, and behavioral conditions that affect voice users, with a concentration on the concerns of the independent voice studio teacher.
Approaches to performance and repertoire in instrument specific groupings.
An exploration of issues relating to creative and effective musical performance. Concepts of musicians’ health, exercises for connecting the physique to instrument, stress management, presentation and stage presence, communication skills and musical preparation will be developed through workshops, coaching and masterclass sessions. Two hours.
Practical approach to phonetics and diction. Sound production as applied to reading and singing. Performance of French repertoire.
Elementary German grammar and pronunciation. Study and performance of songs by Schubert, Schumann, Brahms, Wolf, Mahler, Strauss. One hour.
This course focuses on the study and performance of solo arias, duets, trios, and quartets of the oratorio genre. It has a thematic trajectory from its European Christian origins to its present-day empowerment in cultural and secular determinations, and across world religions. The course takes an activist’s eye to acknowledging, re-examining, and renewing the storytelling prominence of oratorio through lenses of decolonization, survivorship bias, intentionality, universality, and dedicated authenticity. The repertoire will include traditional masterworks, new works, and genre-bending concepts, with an orientation to professional engagement.
An exploration of the piano chamber literature, especially that for piano and one other instrument. Pianists prepare and perform with student instrumentalists. One hour.
An exploration of the standard vocal literature. Pianists prepare and perform with student singers. One hour.
Students prepare and perform chamber works with the pianists in PMA451Y.
Students prepare and perform vocal music with the pianists in PMA452Y. P.I.
Performing survey of standard orchestral repertoire for percussion instruments. Regular class performance. Emphasis on style, technique, interpretation and performance practice.
A major choral ensemble for qualified soprano and alto voices who study and perform a wide variety of treble voice repertoire. Emphasis on the development of musicianship through distinctive choral composition. Attendance at all assigned sessions is required. Four hours.
Survey of selected repertoire. Class performance.
Survey of selected repertoire not covered elsewhere in the performance program.
Performing survey of basic orchestral repertoire for wind instruments. Regular performance. Emphasis on intonation, tonal blend, balance and general orchestral technique.
A chamber orchestra of approximately 20 musicians, CME explores music of the 20th and 21st centuries, with an emphasis on living composers. Rehearsals and performances as assigned by the Performance Division. Attendance at all assigned sessions is required. Four hours minimum.
Individual instruction in the student's major performance medium. One hour lesson per week (to a total of 24 lessons) and Recital.
Study and performance of Baroque and Renaissance instrumental/vocal chamber repertoire from an historically aware perspective. Guest coaches will be a regular part of the instruction as well as lectures/demos in relevant performance practice topics. Each year Collegium members will also be invited to take part in larger-scale projects in collaboration with the UofT Schola Cantorum.
This practical course will focus on the study and performance of 17th- and 18th-century vocal repertoire from an historically aware perspective. Matters of style, ornamentation, word painting and intonation will be applied to a variety of works, including solo arias, cantatas, madrigals and motets and major oratorios, both sacred and secular. The class will be conducted in a rehearsal and master class format. Every other class we will focus on solo/duet/trio/quartet repertoire. Alternate classes will be devoted to ensemble repertoire. Four hours minimum.
Students rehearse and perform in concerts and reading sessions as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
Instruction in small ensemble performance e.g. string quartets, woodwind quintets, piano trios, percussion ensemble, mixed chamber groups. With permission, students may enrol in two or more ensembles and earn additional credit. Two hours minimum.
The study and performance of a diverse choral repertoire with an emphasis on extended and major works. Attendance at all assigned session is required. Four hours minimum.
Introductory studies in operatic performance. Vocal and dramatic coaching and staging. Speech, acting, mime, movement, fencing, eurhythmics, makeup. Selected students may be cast in major productions.
Students rehearse and perform in concerts, reading sessions, opera productions and choral/orchestral presentations as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
Individual instruction in the student’s major performance medium. One hour lesson per week. For students on an exchange program.
For students on an exchange program.
For students on an exchange program.
Approaches to performance and repertoire in instrument specific groupings.
Study and performance of repertoire for tenor and bass voices, comprising of music spanning several centuries and styles; emphasis on vocal development, aural skills and ensemble experience. Attendance at all sessions is required. Four hours minimum.
Study and Performance of advanced repertoire for treble voices (SSAA), with emphasis on the contemporary period. Attendance at all sessions is required. Four hours minimum.
This is a performance-based course designed to explore the extensive repertoire for flute-guitar duo written since 1800. Students are paired in duos, perform each week for peers, receive instruction on performance and interpretation in masterclass format, and are expected to provide written and verbal commentary and reflection on the repertoire and its performance.
Practical approach through in-class coaching to the study and performance of English song repertoire with emphasis on expression of text and musical style. Repertoire includes Renaissance to 21st century American, British and Canadian song.
Practical study through in-class coaching on authentic pronunciation and interpretation. Emphasis on the art song repertoire of the seventeenth to twentieth centuries.
A study of English, Italian, German, and French phonetics, with focus on authentic pronunciation for the stage.
Reading and study of solo pieces, accompaniments, duets, and two-piano arrangements of symphonies and overtures.
A major choral ensemble for qualified soprano and alto voices who study and perform a wide variety of treble voice repertoire. Emphasis on the development of musicianship through distinctive choral composition. Attendance at all assigned sessions is required. Four hours minimum.
A chamber orchestra of approximately 20 musicians, CME explores music of the 20th and 21st centuries, with an emphasis on living composers. Rehearsals and performances as assigned by the Performance Division. Attendance at all assigned sessions is required. Four hours minimum.
Practical training in ensemble performance. Six hours minimum.
Individual instruction in the student’s major performance medium. One hour lesson per week. (a total of 24 lessons).
Individual instruction in the student’s major performance medium. One hour lesson per week (a total of 24 lessons).
Study and performance of Baroque and Renaissance instrumental/vocal chamber repertoire from an historically aware perspective. Guest coaches will be a regular part of the instruction as well as lectures/demos in relevant performance practice topics. Each year Collegium members will also be invited to take part in larger-scale projects in collaboration with the UofT Schola Cantorum.
This practical course will focus on the study and performance of 17th- and 18th-century vocal repertoire from an historically aware perspective. Matters of style, ornamentation, word painting and intonation will be applied to a variety of works, including solo arias, cantatas, madrigals and motets and major oratorios, both sacred and secular. The class will be conducted in a rehearsal and master class format. Every other class we will focus on solo/duet/trio/quartet repertoire. Alternate classes will be devoted to ensemble repertoire. Four hours minimum.
Students rehearse and perform in concerts and reading sessions as assigned by the Performance Division through the academic year. Attendance at all assigned sessions is required. Six hours minimum.
Instruction in small ensemble performance e.g. string quartets, woodwind quintets, piano trios, percussion ensemble, mixed chamber groups. Two hours minimum.
The study and performance of a diverse choral repertoire with an emphasis on extended and major works. Attendance at all assigned session is required. Four hours minimum.
Students rehearse and perform in concerts, reading sessions, opera productions and choral/orchestral presentations as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
Approaches to performance and repertoire in instrument specific groupings.
Study and performance of repertoire for tenor and bass voices comprising of music spanning several centuries and styles; emphasis on vocal development, aural skills and ensemble experience. Attendance at all sessions is required. Four hours minimum.
Study and Performance of advanced repertoire for treble voices (SSAA), with emphasis on the contemporary period. Attendance at all sessions is required. Four hours minimum.
This is a performance-based course designed to explore the extensive repertoire for flute-guitar duo written since 1800. Students are paired in duos, perform each week for peers, receive instruction on performance and interpretation in masterclass format, and are expected to provide written and verbal commentary and reflection on the repertoire and its performance.
A continuation of PMU128H1. Practical approach through in-class coaching to the study and performance of English song repertoire with emphasis on expression of text and musical style. Repertoire includes Renaissance to 21st century American, British and Canadian song.
A continuation of PMU129H1. Practical study through in-class coaching on authentic pronunciation and interpretation. Emphasis on the art song repertoire of the seventeenth to twentieth centuries.
This course will introduce a variety of skills necessary for entering into a career as a singing artist of the 21st century. Using performance-based process work, students will be invited to explore audition techniques, develop operatic role study skills, and discuss current performance and repertoire trends all while being encouraged to use real-world technology solutions.
An exploration of the piano chamber literature, especially that for piano and one other instrument. Pianists prepare and perform with student instrumentalists. One hour.
A performance class for piano performance majors introducing the art of collaboration between singer and pianist through study of piano/vocal repertoire, primarily from the art song genre. Through in-class presentations, topical lectures and projects, students explore the unique relationships between pianist, singer, music and text. Students work with PMU255Y1 singers.
A performance class for voice performance majors introducing the art of collaboration between singer and pianist through study of piano/vocal repertoire, primarily from the art song genre. Through in-class presentations, topical lectures and projects, students explore the unique relationships between pianist, singer, music and text. Students work with PMU252Y1 pianists.
An introduction to historical keyboard technique treatises, as well as beginning and intermediate level learning theories and teaching methods.
Practical experiences in teaching beginner to intermediate level adult pianists and observations of children’s private lessons and group classes in the University of Toronto Piano Pedagogy Program.
Performance and rehearsal of West African drumming and dancing and introduction to its musical and social contexts.
This course will explore various forms of Gospel music repertoire, from its roots in the African American negro spiritual to mainstream contemporary gospel choir music. Students will develop their aural musicianship skills and their ability to ‘learn by ear’ through a rote style of teaching. Students will also be encouraged to develop their improvisation skills in solo and group settings.
Rehearsal and Performance of Klezmer Ensemble and introduction to its musical and social contexts.
Rehearsal and Performance of Brazilian music and introduction to its musical and social contexts.
Rehearsal and performance of Japanese Drumming and introduction to its musical and social contexts.
Rehearsal and performance of the Steel Pan ensemble and introduction to its musical and social contexts.
A major choral ensemble for qualified soprano and alto voices who study and perform a wide variety of treble voice repertoire. Emphasis on the development of musicianship through distinctive choral composition. Attendance at all assigned sessions is required. Four hours minimum.
A chamber orchestra of approximately 20 musicians, CME explores music of the 20th and 21st centuries, with an emphasis on living composers. Rehearsals and performances as assigned by the Performance Division. Attendance at all assigned sessions is required. Four hours minimum.
Practical training in ensemble performance. Six hours minimum.
Individual instruction in the student’s major performance medium. One hour lesson per week. (a total of 24 lessons).
Individual instruction in the student’s major performance medium. One hour lesson per week (a total of 24 lessons).
Study and performance of Baroque and Renaissance instrumental/vocal chamber repertoire from an historically aware perspective. Guest coaches will be a regular part of the instruction as well as lectures/demos in relevant performance practice topics. Each year Collegium members will also be invited to take part in larger-scale projects in collaboration with the UofT Schola Cantorum.
This course builds your knowledge, skills, and confidence to improvise figuredbass accompaniments at the harpsichord and chamber organ in a variety of historical styles. Collaborating with singers and instrumentalists, we explore how to apply early keyboard techniques and performance practices to positively shape ensemble performance. No prior harpsichord experience needed.
This practical course will focus on the study and performance of 17th- and 18th-century vocal repertoire from an historically aware perspective. Matters of style, ornamentation, word painting and intonation will be applied to a variety of works, including solo arias, cantatas, madrigals and motets and major oratorios, both sacred and secular. The class will be conducted in a rehearsal and master class format. Every other class we will focus on solo/duet/trio/quartet repertoire. Alternate classes will be devoted to ensemble repertoire. 4 hours minimum.
Students rehearse and perform in concerts and reading sessions as assigned by the Performance Division through the academic year. Attendance at all assigned sessions is required. Six hours minimum.
Instruction in small ensemble performance e.g. string quartets, woodwind quintets, piano trios, percussion ensemble, mixed chamber groups. Two hours minimum.
The study and performance of a diverse choral repertoire with an emphasis on extended and major works. Attendance at all assigned session is required. Four hours minimum.
Students rehearse and perform in concerts, reading sessions, opera productions and choral/orchestral presentations as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
An introduction into the history and functionality of the piano. This course touches on nomenclature for the instrument, how the action works, and how better understanding the structure and mechanics of the instrument can enhance the playing of a pianist.
Approaches to performance and repertoire in instrument specific groupings.
Study and performance of repertoire for tenor and bass voices, comprising of music spanning several centuries and styles; emphasis on vocal development, aural skills and ensemble experience. Attendance at all sessions is required. Four hours minimum.
Study and Performance of advanced repertoire for treble voices (SSAA), with emphasis on the contemporary period. Attendance at all sessions is required. Four hours minimum.
This course examines issues in assessment of performance at all levels of student development and builds skills needed to successfully adjudicate in professional settings including juries, recitals, community festivals, and exams. These skills are also vital to teaching/coaching in studio and class settings. Course content includes theory of assessment and social dynamics of authority, rubrics, active listening, and practica.
A study of the guitar's history and literature from the Renaissance to the present day. Topics covered will include performance practice, primary sources, transcription, modern notation practices, and sociological issues. There will also be a section on orchestral & opera excerpt literature.
This is a performance-based course designed to explore the extensive repertoire for flute-guitar duo written since 1800. Students are paired in duos, perform each week for peers, receive instruction on performance and interpretation in masterclass format, and are expected to provide written and verbal commentary and reflection on the repertoire and its performance.
An exploration of issues relating to creative and effective musical performance. Concepts of musicians’ health, exercises for connecting the physique to instrument, stress management, presentation and stage presence, communication skills and musical preparation will be developed through workshops, coaching and masterclass sessions. Two hours.
Performance of French melodie in a masterclass setting. Elementary knowledge of French vocabulary, grammar and pronunciation is required.
The course goal is to experience, through study, class presentation and concert performance, the representative solo arias excerpted from oratorio/sacred genre; spanning baroque to contemporary works. Additional study topics include: role study; recitative; ornamentation; review of Latin lyric diction (including Germanic Latin); orchestral context; compositional elements of major oratorio composers.
Study and performance of selected Lieder in a masterclass setting. Singers are required to recite the text and give a description of the poetry, background and musical setting. Knowledge of German vocabulary, grammar and pronunciation is required.
A performance class for singers and pianists focusing on practical exploration of the Music Theatre, Jazz, and Contemporary Commercial Music genres. Pianists and singers work together to present the assigned repertoire, with emphasis on text, style, performance practice, and the collaborative process.
Song interpretation, a class for voice and piano majors specializing in fields other than performance that focuses on song repertoire to develop collaborative skills, advance interpretative insight, enhance repertoire knowledge and explore stylistic nuances.
An exploration of the piano chamber literature, especially that for piano and one other instrument. Pianists prepare and perform with student instrumentalists. One hour.
An exploration of the standard vocal literature. Pianists prepare and perform with student singers. One hour.
Students prepare and perform chamber works with the pianists in PMU351Y1.
Students prepare and perform vocal music with the pianists in PMU352Y1.
Varied harmonic treatment of melodies; hymn tunes as preludes; trio playing.
Students learn to identify the anatomy, physiology, and development of the singing voice through classroom study, and then apply that knowledge in a mentored teaching project. Students examine the structural, functional, and behavioral conditions that affect voice users, with a concentration on the concerns of the independent voice studio teacher.
Performing survey of standard orchestral repertoire for percussion instruments. Regular class performance. Emphasis on style, technique, interpretation and performance practice.
A major choral ensemble for qualified soprano and alto voices who study and perform a wide variety of treble voice repertoire. Emphasis on the development of musicianship through distinctive choral composition. Attendance at all assigned sessions is required. Four hours.
Survey of selected repertoire. Class performance.
Survey of selected repertoire not covered elsewhere in the performance program.
Performing survey of basic orchestral repertoire for wind instruments. Regular performance. Emphasis on intonation, tonal blend, balance and general orchestral technique.
Principles of baton technique, score study and analysis. Students conduct from full scores of orchestral, orchestral-choral, and opera repertoire. Weekly conducting of piano reductions.
A chamber orchestra of approximately 20 musicians, CME explores music of the 20th and 21st centuries, with an emphasis on living composers. Rehearsals and performances as assigned by the Performance Division. Attendance at all assigned sessions is required.
Practical training in ensemble performance. Six hours minimum.
Individual instruction in the student’s major performance medium. One hour lesson per week. (a total of 24 lessons).
Individual instruction in student’s major performance medium. One hour lesson per week (a total of 24 lessons) and Recital.
Study and performance of Baroque and Renaissance instrumental/vocal chamber repertoire from an historically aware perspective. Guest coaches will be a regular part of the instruction as well as lectures/demos in relevant performance practice topics. Each year Collegium members will also be invited to take part in larger-scale projects in collaboration with the UofT Schola Cantorum.
This practical course will focus on the study and performance of 17th- and 18th-century vocal repertoire from an historically aware perspective. Matters of style, ornamentation, word painting and intonation will be applied to a variety of works, including solo arias, cantatas, madrigals and motets and major oratorios, both sacred and secular. The class will be conducted in a rehearsal and master class format. Every other class we will focus on solo/duet/trio/quartet repertoire. Alternate classes will be devoted to ensemble repertoire. Four hours minimum.
Students rehearse and perform in concerts and reading sessions as assigned by the Performance Division through the academic year. Attendance at all assigned sessions is required. Six hours minimum.
Instruction in small ensemble performance e.g. string quartets, woodwind quintets, piano trios, percussion ensemble, mixed chamber groups. Two hours minimum.
The study and performance of a diverse choral repertoire with an emphasis on extended and major works. Attendance at all assigned session is required. Four hours minimum.
Introductory studies in operatic performance. Vocal and dramatic coaching and staging. Speech, acting, mime, movement, fencing, eurhythmics, makeup. Selected students may be cast in major productions.
Students rehearse and perform in concerts, reading sessions, opera productions and choral/orchestral presentations as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
A study of the strategies and tools used by performers to refine and realize their career goals. Students develop publicity materials, meet with music industry professionals and investigate a variety of performance career paths.
Approaches to performance and repertoire in instrument specific groupings.
How can performers be creators? This course will explore design, group creation, and interdisciplinary work in order to cultivate innovative thinking and approaches to performance and performance practice. The course will begin with introductions on key practitioners (e.g. Meredith Monkk, Nam June Paik), readings, performance reviews, and a series of short exercises. Main assignments include one large group project, one small group project, a short paper, and a final creative project.
This course prepares students for a freelance career in North America—including a detailed study of current industry showcases, financing of productions, advanced negotiation, technical production (from the artist’s perspective), self-advocacy, and US work visas. Students will understand the artistic demands, finances, lifestyle, and carbon impact of a freelance touring career.
Study and performance of repertoire for tenor and bass voices, comprising of music spanning several centuries and styles; emphasis on vocal development, aural skills and ensemble experience. Attendance at all sessions is required. Four hours minimum.
Study and Performance of advanced repertoire for treble voices (SSAA), with emphasis on the contemporary period. Attendance at all sessions is required. Four hours minimum.
A course to provide the student with a knowledge of the melodic and harmonic capabilities of the guitar's fingerboard. Scale and interval patterns, chords and cadence types, harmonization of melodies, figures bass and sight-reading.
This is a performance based course designed to explore the extensive repertoire for flute-guitar duo written since 1800. Students are paired in duos, perform each week for peers, receive instruction on performance and interpretation in masterclass format, and are expected to provide written and verbal commentary and reflection on the repertoire and its performance.
In-depth study and analysis of Lieder in a master class setting. Singers are required to recite the text and give a description of the poetry, background and musical setting. Knowledge of German vocabulary, grammar and pronunciation is required. One hour.
This course focuses on the study and performance of solo arias, duets, trios, and quartets of the oratorio genre. It has a thematic trajectory from its European Christian origins to its present-day empowerment in cultural and secular determinations, and across world religions. The course takes an activist’s eye to acknowledging, re-examining, and renewing the storytelling prominence of oratorio through lenses of decolonization, survivorship bias, intentionality, universality, and dedicated authenticity. The repertoire will include traditional masterworks, new works, and genre-bending concepts, with an orientation to professional engagement.
An exploration of the piano chamber literature, especially that for piano and one other instrument. Pianists prepare and perform with student instrumentalists. One hour.
An exploration of the standard vocal literature. Pianists prepare and perform with student singers. One hour.
Students prepare and perform chamber works with the pianists in PMU451Y1.
Students prepare and perform vocal music with the pianists in PMU352Y1.
In this dynamic and collaborative masterclass-lab course, organ majors explore a variety of pedagogic approaches to develop and apply their teaching philosophy in a highly experiential environment. Non-majors acquire essential organ techniques and playing experience, while both providing and receiving constructive feedback in a supportive environment. No prior experience necessary.
Performing survey of standard orchestral repertoire for percussion instruments. Regular class performance. Emphasis on style, technique, interpretation and performance practice.
A major choral ensemble for soprano and alto voices who study and perform a wide variety of treble voice repertoire. Emphasis on the development of musicianship through distinctive choral composition. Attendance at all assigned sessions is required. Four hours minimum.
Survey of selected repertoire. Class performance.
Survey of selected repertoire not covered elsewhere in the performance program.
Performing survey of basic orchestral repertoire for wind instruments. Regular performance. Emphasis on intonation, tonal blend, balance and general orchestral technique.
Continuation of PMU380Y1 with emphasis on score analysis and interpretation.
A chamber orchestra of approximately 20 musicians, CME explores music of the 20th and 21st centuries, with an emphasis on living composers. Rehearsals and performances as assigned by the Performance Division. Attendance at all assigned sessions is required.
Practical training in ensemble performance. Six hours minimum.
Individual instruction in the student’s major performance medium. One hour lesson per week. (a total of 24 lessons).
Individual instruction in student’s major performance medium. One hour lesson per week (a total of 24 lessons) and Recital.
Study and performance of Baroque and Renaissance instrumental/vocal chamber repertoire from an historically aware perspective. Guest coaches will be a regular part of the instruction as well as lectures/demos in relevant performance practice topics. Each year Collegium members will also be invited to take part in larger-scale projects in collaboration with the UofT Schola Cantorum.
This practical course will focus on the study and performance of 17th- and 18th-century vocal repertoire from an historically aware perspective. Matters of style, ornamentation, word painting and intonation will be applied to a variety of works, including solo arias, cantatas, madrigals and motets and major oratorios, both sacred and secular. The class will be conducted in a rehearsal and master class format. Every other class we will focus on solo/duet/trio/quartet repertoire. Alternate classes will be devoted to ensemble repertoire. Four hours minimum.
Students rehearse and perform in concerts and reading sessions as assigned by the Performance Division through the academic year. Attendance at all assigned sessions is required. Six hours minimum.
This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered. One hour.
The study and performance of a diverse choral repertoire with an emphasis on extended and major works. Attendance at all assigned session is required. Four hours minimum.
Introductory studies in operatic performance. Vocal and dramatic coaching and staging. Speech, acting, mime, movement, fencing, eurhythmics, makeup. Selected students may be cast in major productions.
Students rehearse and perform in concerts, reading sessions, opera productions and choral/orchestral presentations as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.
This course introduces students to the field of musicians' health through a blend of physical practices and theoretical discussions. Each class includes a yoga-based movement practice and a discussions of relevant concepts including basic anatomy for musicians, motor learning techniques, and strategies for addressing performance anxiety and achieving peak performance. Students will leave the course with a repertoire of stretches and exercises to counterbalance strains associated with playing their instruments, strategies to make effective use of practice time, and an awareness of available health resources in the community and online.
This course provides an overview of music approaches in health care contexts including: music therapy, music and medicine, community music and artists working in interdisciplinary teams. Lectures, guest speakers, video-clips, and collaborative learning experiences will enhance student knowledge with a focus on critical issues, current research and evidence based practices.
This course offers a survey of music therapy practices in Canada and across the world, and gives students a broad overview of different clinical populations, aims and objectives, clinical care settings, history and philosophies of music therapy, and practice styles, including bio-medical, psychotherapeutic, and rehabilitative approaches. Case studies and relevant research are to be examined and explored.
Compositional projects developed in consultation with the instructor. For students on an exchange program.
Keyboard skills, corresponding with materials studied in TMU130H1, including scales, chords, harmonization of melodies and score reading. Emphasis on continuo realization. One hour.
Performance of pieces (equivalent to RCM Grade 3); scales, chords and cadences in major and minor keys; harmonization of simple melodies utilizing a variety of accompaniments and style; sight reading of melodies, chorales, and simple two-part pieces. One hour.
Compositional projects developed in consultation with the instructor. For students with direct-entry into the composition major in year one.
Survey of digital music technology, covering engraving, MIDI, sound and digital audio, sequencing, synthesis, recording and sampling, signal processing, and mixing and mastering. Throughout this course will be an overview of the supporting hardware and software ecosystem, and an emphasis on listening and analyzing a diverse cross-section of electronic music. Coursework is practical, with a focus on creative and proficient use of a digital audio workstation, culminating in a final project.
Material to be covered includes notation and preparation of scores and parts; introduction to linear writing in instrumental and vocal textures; motives and their extensions; short, strict forms for 2-3 instruments, based on traditional and contemporary models. Primarily for students with an interest in composition.
An extension of the material taught in TMU112H1.
Diatonic harmony. Principles of voice leading and harmonic progression. Introduction to musical form.
Chromatic harmony. Topics include modulation, mixture, Neapolitan and augmented sixths.
Reading and listening skills for diatonic materials. Topics include sight singing, rhythm reading, keyboard harmony, and dictation.
Reading and listening skills for chromatic materials. Topics include sight singing, rhythm reading, keyboard harmony, and dictation.
Short pieces in modern idioms with a focus on chamber music or equivalent (e.g. small-scale electroacoustic projects). Public performance of composition expected. One hour of individual instruction per week. For students admitted to Composition as a major concentration.
Short pieces in modern idioms with a focus on chamber music or equivalent (e.g. small-scale electroacoustic projects). A mixture of two-hour group classes and individual instruction. For students admitted to Composition as a minor concentration.
Form & Analysis. Study of forms and analysis of repertoire from c. 1700-c. 1900. Forms to be studied include binary, ternary, sonata, rondo, variation, and fugue.
Post-tonal theory and analysis. Study of compositional practices in music written after 1900.
Advanced reading and listening skills suitable for understanding post-tonal music. Topics include modes, sets, and innovations in rhythm and meter, practiced through exercises in sight singing, rhythm, dictation, keyboard, and aural analysis.
In-depth analysis of musical works from c. 1750 to 1840; study of recent analytical approaches to music and meaning, musical form, and text-music relationships; selected readings. Two hours.
Continuation of TMU210Y1, including extended works for small chamber ensembles. Public performance of composition expected. One hour of individual instruction per week. For students admitted to Composition as a major concentration.
Continuation of TMU211Y1, including works for small chamber ensembles. A mixture of two-hour group classes and individual instruction. For students admitted to Composition as a minor concentration.
Recording music has become an essential part of a musician’s career. With technological advancements and the ability to reach people worldwide, music has never been more accessible. Through lectures and hands-on tutorials, this course will introduce the student to the basic theory and practical skills required to record music.
A study of the individual capabilities of standard orchestral instruments. Writing and arranging for small groups - strings, brass, woodwinds and percussion. In-class readings of student assignments. Study of selected scores.
Practical and analytical study of 18th-century contrapuntal techniques, including species writing, canon and invention. Two hours.
Continuation of TMU316H1 including chorale prelude and fugue. Two hours.
Study of modal counterpoint; strict species technique and 16th-century procedures in vocal writing. Two hours.
Introduction to the theory of pitch-class sets and set relations, including an examination of referential collections (scales) and their properties and a study of ordered set relation (serial procedures). Readings from Babbitt, Forte, Perle, Straus and others, and analysis of representative 20th-century compositions.
An analytical study of the music of Debussy, Bartok, Stravinsky and others. The course will focus on harmony (modes, scales, chords), rhythm, form, and methods of motivic and thematic development.
Max is a visual programming language for music and media with an emphasis on interactivity. This course will cover the Max language and environment, MIDI, external and programmatic control, sequencing, synthesis, sampling, spatialization, signal processing, granulation, and analysis. Coursework is practical, with a focus on designing and implementing software for live performance, culminating in a final project. Previous computer programming experience is not required.
The course focuses on song as the pre-eminent form of 20th Century musical expression in several different genres and musical traditions. Students are exposed to a range of techniques for composing songs in a variety of genres and styles: the parallel and reciprocal relationship and development of textual and sonic materials; writing for the amplified voice; prosody and intelligibility of the text in a song setting; addressing a target audience; genre and stylistic convergence in the Internet Age, etc. Traditional song writing formulas and other musical structures are examined under the light of psychoacoustic perception and auditory function of the brain and strategies of how art-music composers can apply their advanced compositional skills to achieve similar psychoacoustic results with more unconventional means will be discussed and developed throughout the course.
Continuation of TMU310Y1, including writing for orchestra. At least two compositions to be prepared for student performance. One hour.
Working in music and sound for video games means not only composing music or designing sounds but building and maintaining complex interactive systems that take players' input and translate it into sonic feedback. This course provides students with the opportunity to create their own interactive music and sound systems for video games, acquiring the relevant technical skills and the experience of team-based video game development.
The course will examine in detail the use of percussion in contemporary music and what constitutes idiomatic writing for a vast array of lesser-known percussion instruments. Enrolment is open to graduate and upper-year undergraduate composers and to graduate and upper-year undergraduate percussionists who have some composing experience.
Composing for film will concentrate on technical and aesthetic aspects of writing music for film. Various approaches to film music by well known practitioners in the field. Projects will include creating original music for new films by film students.
An intensive research project under the supervision of a faculty member. The project must be academically/artistically demanding and uniquely suitable for the individual student. Students propose a topic that is currently not covered in the curriculum or one that warrants further exploration related to research interests and/or musical goals. Available to 4th year students with a minimum cumulative GPA of 3.3(B+) and availability of a full-time faculty advisor from the Theory & Composition division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.