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.