Compositional projects developed in consultation with the instructor. For students with direct-entry into the composition major in year one.

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.

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.

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.

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.

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.

This course will follow on from the work done in a basic orchestration course. It is intended to bridge the gap between the fundamentals of instrumentation and advanced orchestration. The course will begin with basic score reading, including transposition. Repertoire for analysis will be drawn from orchestral, wind ensemble, and choral/vocal/orchestral music from the Classical era to the present day. Scores will be analyzed for instrumental combinations, as well as for idiomatic writing for instruments and instrumental groups. Notation and performance problems will be examined.

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.

With minor exceptions, rhythm in music is one of the commonalities in almost every musical tradition around the world and, as such, it can transcend individual traditions, colonial or otherwise. In a creative era, such as ours which is dominated by a fascination for complexity, the understanding between cognitively ordered complexity and conceptual (or notational) complexity that is often audibly cognized as unstructured “noise” is a crucial understanding for composers who wish to create and master music that can function as communication between composer and listeners and as a language which can be shared among creators and listeners. The universality of rhythm in world music, can be approached as a deeper cognitive process that transcends but does not betray polyglot cultural practices. The idea of “rhythm” will be expanded to include “harmonic rhythm,” “fractal rhythm,” “phasing,” etc. This course will be useful to graduate and undergraduate composers but also to percussionists who increasingly find themselves acting as composers during their performing careers.

The course examines the writings on the ontology, epistemology, ethics, and aesthetics of music by composer-philosophers and philosopher-composers. Beyond the study of the composers' published books and articles, it references their public lectures, media interviews, private notes, and letters.

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.

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.

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.

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.

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.

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.