Study and performance of selected Lieder in a masterclass setting. Singers are required to recite the text and give a description of the poetry, background and musical setting. Knowledge of German vocabulary, grammar and pronunciation is required.

A performance class for singers and pianists focusing on practical exploration of the Music Theatre, Jazz, and Contemporary Commercial Music genres. Pianists and singers work together to present the assigned repertoire, with emphasis on text, style, performance practice, and the collaborative process.

Song interpretation, a class for voice and piano majors specializing in fields other than performance that focuses on song repertoire to develop collaborative skills, advance interpretative insight, enhance repertoire knowledge and explore stylistic nuances.

An exploration of the piano chamber literature, especially that for piano and one other instrument. Pianists prepare and perform with student instrumentalists. One hour.

An exploration of the standard vocal literature. Pianists prepare and perform with student singers. One hour.

Students prepare and perform chamber works with the pianists in PMU351Y1.

Students prepare and perform vocal music with the pianists in PMU352Y1.

Varied harmonic treatment of melodies; hymn tunes as preludes; trio playing.

Students learn to identify the anatomy, physiology, and development of the singing voice through classroom study, and then apply that knowledge in a mentored teaching project. Students examine the structural, functional, and behavioral conditions that affect voice users, with a concentration on the concerns of the independent voice studio teacher.  

Performing survey of standard orchestral repertoire for percussion instruments. Regular class performance. Emphasis on style, technique, interpretation and performance practice.

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. 

Survey of selected repertoire. Class performance.

Survey of selected repertoire not covered elsewhere in the performance program.

Performing survey of basic orchestral repertoire for wind instruments. Regular performance. Emphasis on intonation, tonal blend, balance and general orchestral technique.

Principles of baton technique, score study and analysis. Students conduct from full scores of orchestral, orchestral-choral, and opera repertoire. Weekly conducting of piano reductions.

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. 

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. 

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. 

A study of the strategies and tools used by music industry professionals to define their creative identity, obtain paid work, market themselves, and operate within professional social spaces. Students develop public-relations materials that are ready for professional use and interact with prominent industry insiders.

Approaches to performance and repertoire in instrument specific groupings.

How can performers be creators? This course will explore design, group creation, and interdisciplinary work in order to cultivate innovative thinking and approaches to performance and performance practice. The course will begin with introductions on key practitioners (e.g. Meredith Monkk, Nam June Paik), readings, performance reviews, and a series of short exercises. Main assignments include one large group project, one small group project, a short paper, and a final creative project.

This course prepares students for a freelance career in North America—including a detailed study of current industry showcases, financing of productions, advanced negotiation, technical production (from the artist’s perspective), self-advocacy, and US work visas. Students will understand the artistic demands, finances, lifestyle, and carbon impact of a freelance touring career.