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.