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 CMU210Y1, 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 CMU211Y1, 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.

This course will focus on extended techniques for orchestral instruments and incorporating such techniques in chamber and orchestral compositions.

Continuation of CMU310Y1, including writing for orchestra. At least two compositions to be prepared for student performance. One hour.

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.

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.

For nearly a century, songwriting has been foremost a recording art. Today’s songwriter must have a firm command of music production techniques to faithfully express their songwriting vision. This course examines essential and advanced production techniques used by chart-topping pop songs. Hidden structures and psychoacoustics, narratives and emotional impact, are recurring themes. Considerations for composing contemporary vocal melodies, the narrative implications of harmonic choices, a compelling verse and chorus design, and effective lyrical writing are all dissected. Basic experience with a DAW is recommended; students produce songs within their DAW of choice. The course culminates in a songwriting showcase.

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.

Students expand on their knowledge of game audio implementation by using RTPCs to create real-time dynamic and modular sound design and music systems using middleware software such as FMOD and Wwise. Students work on a cross-discipline video game development project in collaboration with students specializing in computer science and animation/design.

Composing for film is an introductory course to the art of film scoring. Lecture topics cover the core tenets and unique challenges of working as a film or media composer. The course analyzes examples from popular films and examines the relationship between the action and the use of music. Using their DAW of choice, students write original music to picture. Students have the opportunity to meet and collaborate with animators from partner programs and work directly with these filmmakers to score their film projects, in parallel with the academic year.

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.

This course introduces students to a variety of ways in which music and musicking are embedded in local communities. Students will critically reflect on current practices and research by leaders in community music engagement. Themes of anti-oppression, belonging, wholeness, and wellbeing will be central to the course.

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.