Introductory study of the trombone.

Introductory study of the cello.

Practical study of percussion instruments. Care and maintenance of instruments and equipment. Ensemble playing.

Introductory study of the flute.

Introductory study of the oboe.

Introductory study of the saxophone.

Introductory study of the bassoon. One hour, one term.

Introductory study of the double bass. One hour, one term.

A performance/pedagogical survey of major improvisational practices and techniques from the Renaissance on; their adaptation and application to classroom/private teaching. Students gain experience in a wide variety of improvisational approaches including baroque/classical embellishment, rock/blues/jazz jamming, “open” (free) improvisation and those related to various ‘world’ traditions. No previous improvisation experience required.

The study and practice of choral music with an emphasis on teaching and learning in school and community choral settings. The course will focus on conducting, programming and score study with an emphasis on rehearsal pedagogy.

The course focuses on developing pianistic, musical and verbal skills in order to succeed in a broad spectrum of collaborative opportunities during a professional career. In-class accompanying presentations and lectures introduce students to professional musician/teacher requirements through collaborative training.  Practical experience in improvisation, sight-reading. Assignments appropriate to level of keyboard facility.

A study of techniques for the instruction and administration of wind and string instrumental programs. Analysis and performance of beginning and intermediate band and string orchestra repertoire.

Development of improvisation skills through applied performance and theoretical analysis in a variety of jazz styles.

This course provides an introduction to the philosophical underpinnings and practice-based theories of music education for children. Students will have the opportunity to study the development of musicianship in childhood and explore common theories and educational approaches through seminars, observations, composition and performance experiences, and microteaching opportunities.

This course provides a multitude of approaches to music teaching and learning including informal music learning, music technology, community music and improvisatory and creative musical activities in music classrooms. Students will actively create and perform music while crafting a well-rounded curriculum based on the ideas derived from the course. Philosophical underpinnings of such practices will also be examined.

This course focuses on the pedagogy of Dalcroze Eurhythmics, a music education approach that examines the intrinsic relationships between physical movement and the learning/performing of music. Students make a kinaesthetic connection to a wide variety of music through invigorating combinations of free movement, choreography, singing, conducting, improvisation and music games.

This course takes the Calls to Action from the Truth and Reconciliation Commission as the Foundation for Curriculum and Pedagogy in Music Education. Students will lead seminars on topics related to their research interest and examine current issues facing Indigenous Peoples through the lens of Reconciliation.

An introduction to modes of research in music education, with particular reference to principles of research design and effective research procedures. Students will prepare critiques of research material and will be guided in designing research projects.

This course provides a reflective practicum experience in unique urban settings. Under the mentorship of professional community music teachers, students assist and lead music-making sessions with youth from the Regent Park School of Music and/or youth residing in detention centers. Students have the opportunity to investigate how music is an important tool for social justice.

The study of choral literature and conducting technique with an emphasis on European classical and Contemporary choral music (including selected choral-orchestral repertoire). The weekly class will meet in a combined literature seminar and conducting practicum with piano and/or small instrumental ensemble.

The study of choral literature and conducting technique with an emphasis on European classical and Contemporary choral music (including selected choral-orchestral repertoire). The weekly class will meet in a combined literature and seminar and conducting practicum with piano and/or small instrumental ensemble.

This course provides a community-based experience that will enable students to merge theory and practice in music education. Students will volunteer for three hours a week in a community music or school setting of their choosing. Placements must be approved by the instructor during the first week of classes.

Students will undertake a unique internship opportunity in partnership with the Toronto District School Board and the Marigold Team (a Black-led organization with a mission to change the visual landscape of music education). Students will lead a series of music education workshops, in schools identified as high needs, that explore culturally relevant and culturally responsive music education through an anti-oppression and anti-racism lens. The focus will be on prioritizing the socio-emotional awareness and well-being of students, while facilitating conversations about historical practices in music education that value one form of musicking over another. Students will be mentored by leaders in Equity, Diversity, and Inclusion. Placements must be approved by the instructor during the first week of classes.

Practical instrumental lab. Selected lecture topics related to teacher effectiveness in an instrumental program. In-field observation and participation.

A seminar exploring music's social nature, with special attention to the ways culture influences music perception, cognition, and value, and the way musical practices in turn influence culture and social relations. Issues addressed include: music education as intercultural education; music, gender, and power; the educational implications of cultural relativity; music education as an agent of social reproduction and/or transformation; social relations implicit in various musical and instructional practices; and music education's moral significance. Emphasis is placed on practical pedagogical applications of world music.

The focus will be on developing music teaching and learning strategies for welcoming young children across the developmental periods of early childhood, middle childhood, and adolesence into the diverse human practice of musicking. This course offers an alternative to traditional methodologies by encouraging students to develop their own orientation based on a critical examination of bell hooks’s philosophy of education as the practice of freedom as well as antiracist and anti-oppressive approaches to music education. Students will build teaching expertise through peer teaching and reflective examination of current practices. Lectures and assignments will include exploring diverse repertoire for students in the elementary grades and an examination of the current research in the field of elementary music education. As part of this course, students are expected to submit a research paper, present a seminar discussion on a chosen topic relating to music in childhood as well as submit and present an individual “teaching project.” The welcoming project will be the preparation of a collection of repertoire and teaching materials. 

An intensive research project under the supervision of a faculty member. The project must be academically 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 students in 4th year on successful completion of several EMU courses; minimum cumulative GPA of 3.3 (B+) and availability of a full-time faculty advisor from the Music Education division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.

An examination of musical thought and practice in non-Western and Western traditions.

Western music from 1750 to the present.

Western music up to 1750.