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.

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.

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.

In-depth analysis of musical works from c. 1840 to 1910; study of recent analytical approaches to musical form, chromatic harmony, and text-music relationships; selected readings. Two hours.

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.

Recent years have seen the growth of an analytical literature that applies tools developed for the understanding of tonal and post-tonal repertories to a variety of global musics. In this course, we study selections from this literature; in addition to close, directed listenings, we discuss the achievements and limitations of particular analyses, and their interactions with tools developed for musical understanding within the musical cultures in question. As a final project, students will undertake their own analytical study.

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.

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.