A performance class for voice performance majors introducing the art of collaboration between singer and pianist through study of piano/vocal repertoire, primarily from the art song genre. Through in-class presentations, topical lectures and projects, students explore the unique relationships between pianist, singer, music and text. Students work with PMU252Y1 pianists.

An introduction to historical keyboard technique treatises, as well as beginning and intermediate level learning theories and teaching methods.

Practical experiences in teaching beginner to intermediate level adult pianists and observations of children’s private lessons and group classes in the University of Toronto Piano Pedagogy Program.

Performance and rehearsal of West African drumming and dancing and introduction to its musical and social contexts.

This course will explore various forms of Gospel music repertoire, from its roots in the African American negro spiritual to mainstream contemporary gospel choir music. Students will develop their aural musicianship skills and their ability to ‘learn by ear’ through a rote style of teaching. Students will also be encouraged to develop their improvisation skills in solo and group settings.

Rehearsal and Performance of Brazilian music and introduction to its musical and social contexts.

Rehearsal and performance of Japanese Drumming and introduction to its musical and social contexts. 

Rehearsal and performance of the Steel Pan ensemble and introduction to its musical and social contexts.

A major choral ensemble for qualified soprano and alto voices who study and perform a wide variety of treble voice repertoire. Emphasis on the development of musicianship through distinctive choral composition. Attendance at all assigned sessions is required. Four hours minimum. 

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. Four hours minimum.

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 the student’s major performance medium. One hour lesson per week (a total of 24 lessons).

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 course builds your knowledge, skills, and confidence to improvise figuredbass accompaniments at the harpsichord and chamber organ in a variety of historical styles. Collaborating with singers and instrumentalists, we explore how to apply early keyboard techniques and performance practices to positively shape ensemble performance. No prior harpsichord experience needed.

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. 4 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. 

Instruction in small ensemble performance e.g. string quartets, woodwind quintets, piano trios, percussion ensemble, mixed chamber groups. Two hours minimum.

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. 

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. 

An introduction into the history and functionality of the piano.  This course touches on nomenclature for the instrument, how the action works, and how better understanding the structure and mechanics of the instrument can enhance the playing of a pianist.

This is a practical survey of the Piano Concerto for piano majors. Participants will prepare the solo part of one movement of a piano concerto and will also serve as the orchestral accompaniment in piano reduction of a piano concerto. Classes will be in the form of coaching works-in -progress moving towards a final, end of term performance.

Approaches to performance and repertoire in instrument specific groupings.

Study and performance of repertoire for tenor and bass voices, comprising of music spanning several centuries and styles; emphasis on vocal development, aural skills and ensemble experience. Attendance at all sessions is required. Four hours minimum. 

Study and Performance of advanced repertoire for treble voices (SSAA), with emphasis on the contemporary period. Attendance at all sessions is required. Four hours minimum. 

This course examines issues in assessment of performance at all levels of student development and builds skills needed to successfully adjudicate in professional settings including juries, recitals, community festivals, and exams. These skills are also vital to teaching/coaching in studio and class settings. Course content includes theory of assessment and social dynamics of authority, rubrics, active listening, and practica.

This is a performance-based course designed to explore the extensive repertoire for flute-guitar duo written since 1800. Students are paired in duos, perform each week for peers, receive instruction on performance and interpretation in masterclass format, and are expected to provide written and verbal commentary and reflection on the repertoire and its performance.

An exploration of issues relating to creative and effective musical performance. Concepts of musicians’ health, exercises for connecting the physique to instrument, stress management, presentation and stage presence, communication skills and musical preparation will be developed through workshops, coaching and masterclass sessions. Two hours.

Performance of French melodie in a masterclass setting. Elementary knowledge of French vocabulary, grammar and pronunciation is required.

The course goal is to experience, through study, class presentation and concert performance, the representative solo arias excerpted from oratorio/sacred genre; spanning baroque to contemporary works.  Additional study topics include:  role study; recitative; ornamentation; review of Latin lyric diction (including Germanic Latin); orchestral context; compositional elements of major oratorio composers.