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.

Private lessons.

Private lessons.

A series of lectures, discussions, student performances, and presentations designed to address various topics related to the work of collaborative pianists. Topics will include vocal coaching techniques, issues of performance practice, and the study of selected poetry and repertoire. By permission of the Department.

Coaching sessions for collaborative piano majors with primary focus on the duo sonata repertoire. Repertoire choices will be made through consultation with the instructor and may also include instrumental chamber music for larger groupings and reductions of orchestral works. Instrumentalists welcome (enrolment limited to the number of pianists in the course).

Continuation of Sonata Coaching I.

Building on the principles learned in Collaborative Piano Techniques I, students will engage in a series of lectures, master classes, performances, and presentations to further develop their skill set and increase familiarity with the instrumental repertoire. Topics will include repetiteur preparation, score reading, instrumental chamber music, conducting, and a review of previous topics as needed. Students will participate in class performances, discussions, written assignments, and an in-class presentation. Students will be assigned to instrumental studios to supplement and support class work.

Practical Study: Rehearsals of major productions, scenes, and extracts from the operatic repertoire. Offered as an elective to Collaborative Piano majors in the second year of study. By permission of the Department.

Taken in the second year of the opera program, this course will focus on the performance of operatic repertory and will aim to expand the knowledge and preparation of work outside the body of operatic assignments including the selection and suitability of professional audition repertoire. Vocally appropriate choices will be made in consultation with the staff. A course journal of class discussions, English translations, and IPA transcriptions will be kept and evaluated.

Practical studies in French lyric diction for graduate singers and collaborative pianists. This course focuses on the rules governing the pronunciation of French, the use of the International Phonetic Alphabet, and the articulatory processes involved in the vocalization of this language.

Practical studies in Italian lyric diction for graduate singers and collaborative pianists. This course is a detailed exploration of Italian pronunciation for the stage. Concert and operatic repertoire from the 17th century onward is treated, with an emphasis on in-class performance. Particular attention is paid to opera arias and Italian art song (liriche) of the students’ choosing. A final performance exam consists of a presentation of ensemble recitative scenes.

Practical studies in German lyric diction for graduate singers and collaborative pianists. This course focuses on the rules governing the pronunciation of German, the use of the International Phonetic Alphabet, and the articulatory processes involved in the vocalization of this language.

Practical studies in English lyric diction for graduate singers and collaborative pianists. This course focuses on the rules governing the pronunciation of English, the use of the International Phonetic Alphabet, and the articulatory processes involved in the vocalization of this language.

This seminar will focus on the study, preparation and stylistic performance of repertoire 1600–1800. When appropriate, works from 1800 to present will be included, although a majority of study will be on earlier literature. Students should expect to attend with the understanding that lectures will regularly include masterclass participation.

This course substitutes for MUS4600SH Performance Practices Before 1800, in those instances where there is no theory or literature relevant to the masters student’s instrumental specialization (e.g., percussion).

Graduate students may take one half-credit (0.5) in selected ensembles towards their degree under the course number MUS4608H. To complete the credit, students must enroll and participate satisfactorily in one ensemble that does not perform western art music or jazz and must complete an associated analytical assignment. Students seeking this credit will consult with a member of the ethnomusicology faculty to establish the nature of the analytical assignment and a timeline for its completion.

This course explores relationships between analysis and performance in 18th- and 19th-century music, with an emphasis on music composed between 1775–1900. Principal topics include analytical approaches to tonal structure, rhythmic design, and form. Readings in these areas, as well as in performance studies, complement analytical work. Course requirements include short analytical assignments, a presentation with performance/demonstration, and a final paper.

This course provides both theoretical and practical training in performance for palliative care with a view towards developing a context-specific performance practice. In addition, the course aims to enhance discernment and skill with high-level interpretative concepts more generally, to demonstrate the relevance of these concepts to non-palliative performance contexts, and to develop more communicative musicianship.

This course will focus on analysis and performance problems of music after 1900. Compositional procedure will be examined with a view to clarifying interpretive approaches to contemporary repertoire. Topics will include, but not be limited to, score-reading skills, periodicity, phrase structure, small and large-scale form, tonality and substitutions for tonality, and basic aesthetic concepts. Music will be drawn from the early 20th century through to the present day.

This interdisciplinary research-creation seminar explores aesthetics, techniques, and challenges related to interactive performance systems. Groups (composer, technologist, performer) work together to develop a concept, performance framework and musical composition. The course culminates in an informal final concert where pieces are performed, and documentation is presented (video or audio). The course emphasizes interdisciplinary collaboration. Coursework includes reading, team project, presentation (performance), recording, and short paper (summarizing research-creation process).

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 Monk, Nam June Paik), readings, performance reviews, and a series of short exercises. Main assignments include one large group project, one small group project, a paper, and a final creative project.

Students will receive a thorough background and theory of the Alexander Technique through lectures and discussion of reading materials. The Technique as applied directly to music will be a strong focus. Students will be encouraged to explore movement and develop their awareness in activity, and to keep a journal of their discoveries and reactions. Lectures are enhanced with daily experiential activities including standard procedural Alexander work with the teacher and performances by students.

This course provides an opportunity for students to earn credit through practical experience at an institution or other type of organization related to music and/or the arts. An internship proposal, outlining goals and anticipated learning outcomes, along with a description of internship expectations from the community partner, must be approved by the faculty member supervising the internship and the Associate Dean, Graduate Education. This course can be completed for either a half- or full-course credit, and can be taken across either one or two semesters. Assessment of the course will involve regular meetings (approximately biweekly) with the supervising faculty member as well as a report from the community partner and a reflection of learning achievements from the student at the conclusion of the internship. At the discretion of the supervising faculty member, oral presentation(s) concerning the internship experience may also be required.

This course provides an opportunity for students to earn credit through practical experience at an institution or other type of organization related to music and/or the arts. An internship proposal, outlining goals and anticipated learning outcomes, along with a description of internship expectations from the community partner, must be approved by the faculty member supervising the internship and the Associate Dean, Graduate Education. This course can be completed for either a half- or full-course credit, and can be taken across either one or two semesters. Assessment of the course will involve regular meetings (approximately bi-weekly) with the supervising faculty member as well as a report from the community partner and a reflection of learning achievements from the student at the conclusion of the internship. At the discretion of the supervising faculty member, oral presentation(s) concerning the internship experience may also be required.

Participation in a large-scale performance ensemble (instrumental/choral). The ensemble and assignments will vary with applied major. Orchestra, Guitar Orchestra, Wind Ensemble, Wind Symphony, Soprano Alto Chorus, Tenor Bass Chorus, MacMillan Singers Chamber Choir. By audition.

Participation in a large-scale performance ensemble (instrumental/ choral). The ensemble and assignments will vary with applied major. Orchestra, Guitar Orchestra, Wind Ensemble, Wind Symphony, Soprano Alto Chorus, Tenor Bass Chorus, MacMillan Singers Chamber Choir. By audition.

Rehearsals and performances of 20th-century works, principally for larger ensembles, including works by student and faculty composers. By audition.

Rehearsals and performances of 20th-century works, principally for larger ensembles, including works by student and faculty composers. By audition.

Participation in small performance ensembles of both standard and irregular groupings. Brass, Woodwinds, Strings