A new musical composition or version that is recorded, mixed, produced, and mastered and that integrates at least two media (e.g., electronic and acoustic; music for picture; live performance with multimedia).

A survey of techniques employed in the composition of electroacoustic music. Two hours of class time plus additional studio time.

A course for students who have completed MUS3800H or its equivalent at another university. This seminar will deal with new techniques of computer sound synthesis and their application to electro-acoustic composition.

Max is a visual programming language for music and media with an emphasis on interactivity. This course will cover the Max language and environment, MIDI, external and programmatic control, sequencing, synthesis, sampling, spatialization, signal processing, granulation, and analysis. Coursework is practical, with a focus on designing and implementing software for live performance, culminating in a final project. Previous computer programming experience is not required.

Unlocking the creative potential of present-day audio production tools requires a balance of aesthetics, theory, technical skill, and critical listening. Whether one is creating materials for an electroacoustic composition, video game, or developing a creative research agenda, tracing a clear path from imagination to excellence is paramount. This seminar explores advanced topics in composition, analysis, synthesis, and multi-channel audio through self-directed research and a creative project format.

Preparation of an original composition in large form or an electro-acoustic composition of comparable dimensions, Project to be approved by the division. Defense of composition at oral examination. Analysis of an assigned score and presentation of the analysis at oral examination.

Independent research by doctoral students, under the supervision of a faculty advisor.

An independent reading and research project under the supervision of a faculty advisor on a topic in music composition.

This is a directed study course for DMA in Composition students typically taught by the faculty supervisor. The course lays the groundwork for the thesis research and leads to a Field Examination at the start of year three. Students complete readings and written work that prepares them for the thesis composition, and helps them to form a broad base of knowledge in composition, theory, and analysis.

This course is designed to give the students an opportunity to practice and apply what they are learning in class to real clinical populations. Clinical practicum placements will take place in community centres, hospitals, senior residences, nursing homes, Alzheimer's and memory clinics, Parkinson's research and treatment centres as well as the U of T Music and Health Research Collaboratory (MaHRC). Examples of activities include performing music, teaching music, leading singing and instrumental improvisation activities, and using music to enhance speech or mobility. These placements will be supervised by Music and Health Sciences faculty.

This course is designed to increase knowledge and awareness of clinical performance techniques and applications and adaptations of music to a variety of special clinical populations and functions. Content in this course will address a variety of music and health topics including ethics, vocal health, respiratory function, language development, sensorimotor training and neuromuscular education, and cognitive learning as they related to developmental, psychiatric, neurological, degenerative, and movement disorders.

The purpose of this course is to develop advanced clinical knowledge through in-depth examination of the principles, best practices, and competencies in voice assessment, voice and motor speech disorders, singing voice disorders, vocal production, and therapeutic music interventions to address the restorative, developmental, compensatory and supportive goals of professional vocalists and clients with voice and motor speech disorders. Students will learn efficient ways to adapt voice production to serve clinical outcomes as well as the skills needed to work as part of an interdisciplinary voice care team.

The purpose of Applied Music for Clinical Practice is to develop advanced clinical musical skills necessary to work as a music and health clinician. Based on an assessment of students' musical skills and learning goals, students will take lessons in a combination of voice, piano, guitar, and their applied instrument on a rotational basis for a full year in order to develop a well-rounded and functional level of musicianship necessary to be a successful clinician.

This course, Performance Project, will consist of a recital program of 50 to 60 minutes that can include a combination of solo repertoire and chamber music. The Performance Project will be supervised by the applied performance instructor (MUS4444Y Applied Music) and will take place at the end of the first year of the program. A Jury performance examination of 30 minutes (selected from the full recital program) will be adjudicated by one member of the Music and Health Sciences faculty, and one instrument or voice performance specialist. When the Jury is passed, the student will perform the full program in an approved clinical or community setting. Verbal introductions of each piece in the recital program appropriate for each clinical or community setting will be expected.

Following the Clinical Performance Practicum (MUS4112Y) experiences, students will be required to write a 20-page paper and develop a conference-type workshop/lecture to be presented at a 2-day symposium to be held at the end of the year. Topics will vary depending on individual interests, expertise and specific practicum placements. Presentations will be open to University of Toronto community partners and the community at large. MUS4188Y is a continuous year-long course and will be supervised by Music and Health Sciences faculty members. Intended especially for MMus Applied Music and Health students.

This course uses the Western art music tradition of the past 300 years as a point of departure to learn graduate-level research and writing skills. In the process, students think critically about issues of particular interest to high-level performers, including the history of concert and listening practices, representations of race and gender, canon formation and historiography, music, and politics, the history of virtuosity, the value(s) of a historical imagination as it relates to musical expression, and the ethical choices facing performers today. The course will also feature guest workshops relating to professional development.

A study of the harmonic, thematic, and formal structures of Baroque, Classical, and Romantic music. Harmonic topics include diatonic chords, sequences, applied dominants, modulation, modal mixture, Neapolitan, and augmented sixth chords. The examination of cadences, phrases, and periods leads to an exploration of complete movements in binary, ternary, sonata, and rondo forms, as well as text-music relationships in texted vocal works. Students learn to communicate their analytic insights through annotated musical examples, form charts, written prose, and oral presentations.

This course is an advanced study of selected vocal repertoire with attention to diction, historical and literary references, musical style and performance. The repertoire will change annually, and will be selected from French, Russian, German, Italian, Spanish, and English repertoire. Class performance and a working knowledge of the International Phonetic Alphabet are required.

Continuation of MUS4213H.

A study of selected strategies and tools used by performers to refine and realize their career goals. Students develop publicity materials, meet with and interview music industry professionals, and research a variety of performance career paths.

The study of conducting techniques, score preparation, and rehearsal procedures as applied to orchestral, wind, and opera literature. Issues of style, interpretation, and the relationship between gesture and response will be examined through the preparation of selected repertoire. By permission of the Department.

Continuation of MUS4220H.

Continuation of MUS4221H. By permission of the Department.

The study of conducting techniques, score preparation, and rehearsal procedures as applied to choral and choral/orchestral literature. Issues of style, interpretation, and the relationship between gesture and response will be examined through the preparation of selected repertoire. By permission of the Department.

Continuation of MUS4223H.

Continuation of MUS4224H. By permission of the Department.

The study of conducting techniques, score preparation, and rehearsal procedures as applied to wind, and opera literature. Issues of style, interpretation, and the relationship between gesture and response will be examined through the preparation of selected repertoire. By permission of the Department.

Continuation of MUS4226H. By permission of the Department.