This course is a study of the technique of conducting, repertoire of the contemporary wind band, and rehearsal and teaching techniques at various levels. Relevant historical and contemporary readings and analyses are included. A continuation of the 4-semester stream of conducting courses for wind conducting majors. Open to other majors with permission.

This course is a study of the technique of conducting, repertoire of the contemporary wind band, and rehearsal and teaching techniques at various levels. Relevant historical and contemporary readings and analyses are included. A continuation of the 4-semester stream of conducting courses for wind conducting majors. Open to other majors with permission.

This course involves study of vocal anatomy and pedagogy for choral conducting majors. Students would take supervised voice lessons with graduate pedagogy majors under the supervision of Professor Lorna MacDonald. Finally, conducting students without an undergraduate diction course must take Lyric Diction (PMU135Y) in order to become familiar with the International Phonetic Alphabet (IPA).

This course is a practical study and performance of advanced solo vocal music in a private coaching and master class format. The repertoire will be chiefly selected from Lieder, Mélodie, and art song, but will also include orchestral songs and arias. The choices will be made in collaboration with the student, applied music teacher, and vocal coach. Emphasis will be placed on effective interpretation and communication, including musical, interpretive, stylistic, performance, and language/diction considerations.

A continuation of the practical study and performance of advanced solo vocal music in a private coaching and master class format. Independent repertoire choices and audition preparation will be expected in this second-year course.

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 U.S. work visas. Students will understand the artistic demands, finances, lifestyle, and carbon impact of a freelance touring career.

This graduate level course will explore various aspects of operatic performance including musical and dramatic preparation, stagecraft, working effectively with conductors and coaches, honing your personal artistry, and contributing to the atmosphere of innovation, inclusion, and diversity which opera in the twenty-first century demands. Frequent performing opportunities and occasional guest lecturers will enhance the course offerings.

This course will identify the anatomy and physiology of the singing voice through class study and affiliations with related vocal health fields. Students will learn the structural, functional, and behavioural conditions that affect voice users, and develop an introductory approach to voice teaching. Observations, performances, group projects, teaching, and exploration of repertoire will complete the course.

This course examines acoustical principles, vocal repertoire, language, and genre and their pedagogical implication in both musical and vocal development. Clinical observation, voice habilitation, disorders, and supervised teaching projects complete the course. Studio development and management is included.

This course provides advanced concepts in singing health assessment and methodology for teaching advanced skills to students with intermediate voice teaching experience. Modules include advanced teaching with a jury and performance, repertoire building, performance strategies in private and group instructional setting, mock interviews, studio management, and individual research projects as approved by the instructor.

Artistic expression and skilled, balanced physical function in practice and performance are dependent upon the state of the performer's innate and acquired mental resources at the required moment. This course will explore leading teaching and learning techniques, strategies, and interventions for achieving musical excellence in the voice studio, practice room, and on the performing stage. Current research outcomes in performance and its preparation will complement as well as redirect traditional approaches to singers' teaching and learning.

This course focuses on the techniques and methods pertaining to beginning and intermediate-level teaching. Specific emphasis will be on the study of early childhood musicianship development curricula such as Orff, Dalcroze, and Music Learning Theory of Edwin Gordon, and their application to piano study. Other topics include technique, repertoire, stylistic interpretations, and business aspects of teaching. Individualized year-long research projects relating to beginning and intermediate teaching are assigned.

This practical course offers piano teaching experience through observation, assistance in group classes and hands-on private lessons through the Children's Piano Pedagogy Program. All teaching scenarios are supervised and critiqued by the instructor through videotapes and on-site observations.

This course focuses on the techniques and methods associated with advanced and university level teaching. Topics include: a survey of historical technique treatises, advanced repertoire, developing diagnostic skills, master-class teaching, career development and job interview skills and presentation of lectures and workshops. Individualized year-long research projects relating to advanced and university teaching are assigned.

This practical course offers piano teaching experience through observation, and hands-on private lessons through the advanced students of the Adult Community Program. All teaching scenarios are supervised and critiqued by the instructor through videotapes and on-site observations.

This course expands on PMU301H1 Piano Technology for Pianists, exploring a comprehensive foundation of technique and interpretation for piano performance and pedagogy. The course continues to explore the construction and functionality of the modern piano, with emphasis placed on understanding advanced pianistic technique, how it integrates with the instrument, and how these ultimately inform the strategies of musical interpretation. Students will demonstrate their understanding of the material through in-class performances on the modern piano. This course also provides advanced explorations of the harpsichord and fortepiano — including opportunities to survey both instruments; students are encouraged to incorporate their existing repertoire into any assignments.

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

This course substitutes for MUS4200Y. It concentrates on the study of selected repertoire, chosen mainly from the portfolio of each participating student but also including historically significant works by masters such as Duke Ellington, Gil Evans, Bob Brookmeyer, Maria Schneider, Phil Nimmons, Ron Collier, and other major composers.

This course addresses advanced ear training and theoretical concepts including "upper structure" voicings/chord extensions which are commonly found in post-bebop and contemporary jazz harmony. Analysis and performance of the work of influential composers such as Wayne Shorter and Kenny Wheeler will be a central to this course.

This course focuses on methods for students to expand their rhythmic vocabulary as improvisers and composers. Motivic development, rhythmic modulations, and odd time signature playing will be addressed. Analysis and performance of the music of influential contemporary composers such as Dave Holland will be a central to this course.

A study of jazz composition for a wide range of instrumentation. Students will write for solo instruments, small ensembles, and larger groups such as jazz and studio orchestra.

A study of jazz arranging techniques for a wide range of instrumentation. Students will write for solo instruments, small ensembles, and larger groups such as jazz and studio orchestra.

This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.

This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.

This graduate course will be cross-listed with the existing PMU376Y1 and PMU476Y1, which is a survey of selected piano literature in the Baroque and Classical eras. Graduate students enrolled in this course will participate in the lecture/seminar course with upper level undergraduate students and will be assigned to an enhanced research paper and lecture component to justify the graduate course weight of 0.5 credit.

This course is designed to instill fluency with the guitar fretboard through advanced exploration of the mechanisms of common practice harmony on the guitar. It will lead to a fuller understanding of the harmonic processes at work in the repertoire and assist in the development of improvisation, transcription, and arranging capabilities. The course begins with a review of intervals, chords, harmonic progressions, elemental figured bass realization, and melody harmonization. Students will then be required to create effective arrangements of folk songs, transcribe and arrange pieces from the piano, string, and orchestral repertoires, create figured bass reductions of works from the 19th and 20th century guitar repertoire, and harmonize melodies using an advanced chromatic vocabulary.

This course aims to familiarize students with the prevailing methodologies in guitar instruction. Through the examination of these methodologies, students should arrive at a reasoned approach to teaching guitar at the beginning and intermediate levels. Students will also prepare pedagogical assessments of selected teaching repertoire and present their findings for discussion and examination in class. If time permits, there will be analysis of videotaped student performances in which class members will be trained in the detection and solution of errors. Substantial participation in class discussion and online forum is expected.

The lecture element of the course begins with a discussion of early precursors of the guitar, to the development of the 6-string instrument in the late 18th century and the adaptation of common staff notation to published guitar music. It proceeds to cover the important composers, repertoire and associated cultural issues from 1800 to 1900 in first term and 1900 to present in second term. Graduate students will be given listening tests and will write two papers (one per term) specifically dealing with pre-classical guitar repertoire and present their research as a lecture. Finally, each student will choose one piece in each term and present it in historical context. The course will be administered with selected readings and discussion posted on Quercus.

This course offers Classical violinists, violists, cellists, and double bassists the opportunity to study styles of improvisation from the early Baroque through to twentieth-century jazz and the avant garde. Techniques for developing improvisational skills specific to string players will be the main focus. A 10-page paper will be due on the last day of term, with the subject being improvisation, and the specifics being determined through consultation with the instructor. Students will gain greater knowledge of the history and use of improvisation both inside and outside the Classical realm, as well as gain insight into their own creative musical tendencies through a variety of small- and large-group activities.

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. It can be taken as a music elective. Concurrent with undergraduate section.