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.

Reading and listening skills for diatonic and chromatic materials. Topics include sight singing, rhythm reading, keyboard harmony, and dictation.

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.

Diatonic harmony, including principles of voice leading and harmonic progression. Chromatic harmony, including modulation, mixture, Neapolitan and augmented sixths. Course requirements include part-writing, analysis, and keyboard harmony/skills.

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.

The first semester focuses on the study of forms and analysis of repertoire from c.1700-c.1900; forms to be studied include binary, ternary, sonata, rondo, variation, and fugue. The second semester focuses on post-tonal theory and analysis of music post-1900 along with reading and listening skills suitable for understanding post-tonal music.

This course will provide a broad analytical survey of the varied relationships between poetry and music in many styles and genres, from classic nineteenth- and twentieth-century works in different art song traditions to popular music and the songs of Tagore. Topics to be explored include the interrelationship between poetic meter and musical meter, formal and narrative strategies, and matters of interpretation, through readings in the analytical literature and through responses ranging from short essays to creative exercises in text setting and songwriting.

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.

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.

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.