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

Study and performance of repertoire in a small jazz ensemble setting. In addition to the study of existing repertoire, students will be expected to compose and arrange music for the ensemble.

Study and performance of repertoire in a small jazz ensemble setting. In addition to the study of existing repertoire, students will be expected to compose and arrange music for the ensemble.

This is a large instrumental ensemble (traditional and expanded instrumentation) offering the study and performance of a diverse body of jazz repertoire. By audition.

This is a large instrumental ensemble (traditional and expanded instrumentation) offering the study and performance of a diverse body of jazz repertoire. By audition.

This is a large vocal ensemble offering the study and performance of a diverse body of jazz repertoire. By audition.

The Masterclass allows graduate students to perform for colleagues in the woodwind division and receive feedback from their peers and various faculty members. Structured in the same way as PMU105Y1, but inclusive of all Woodwind Instruments (projected enrolment 10-12), the course includes an introduction to research methods in performance and pedagogy to justify its graduate level 0.5 credit weight.

This course focuses on the preparation and performance of solo ensemble repertoire (duets, trios, quartets) from oratorio masterworks from the 18th to 20th centuries.

Continuation of MUS4770H.

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 styles, including solo arias, madrigals, and motets, both sacred and secular. The class will be conducted in a master class format. Every other week we will focus on solo repertoire from oratorio and opera. Alternate weeks will be devoted to ensemble repertoire. An end-of-year public concert will be arranged.

Continuation of MUS4774H.

Open to vocalists and instrumentalists, this course offers study and performance of 17th and 18th century repertoire from an historically aware perspective. Matters of style, dance, forms, performance practice, techniques including ornamentation will be applied to a variety of music for smaller and larger ensembles will be explored with some opportunity for staged work. The use and reading from 17th and 18th century editions and manuscripts will also be explored. The class will be conducted in rehearsal/workshop format. There will be regular lectures/demos and baroque performance practices and related topics, and examination of 17th and 18th century source material. A series of recital opportunities during the year will be featured.

Continuation of MUS4776H.

Performing survey of standard orchestral repertoire, or another repertoire not covered elsewhere in the program.

Continuation of MUS4785H.

In this course, guitar students perform works from their current repertoire for an audience of peers with the goal of honing performance skills. Each student is required to perform weekly. It is essential that participants are active auditors, and are prepared to comment on the performances. To this end, each student is required to keep a written blog on the course blackboard of all the repertoire covered in the class and each performance heard. Issues such as performing anxiety, control, concentration, fluency, developmental performance, programming, stage manner, and presentation will be discussed in class and in the blogs, and explored in the performing practicum. Graduate students are required to present two 40-minute lecture recitals, one per term, and submit a written document exploring the research on the repertoire presented in both instances.

Continuation of MUS4791H.

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

An exploration of the piano chamber literature, especially that for piano and one other instrument. Pianists prepare and perform with instrumentalists. For students who have taken MUS4795H.

The course will involve readings and discussions on subjects selected by the course instructor. Each student will be required to select a course project, approved by the instructor, on a subject related to the seminar, and to make a presentation of the same material. The format may vary from year to year but will emphasize performance-related topics such as master classes, workshops, lecture recitals, and outreach concerts. Students will research their selected topic and present it in a public forum.

Course will be in sections according to relevant performance area and taught by faculty members in that area.

A common criticism leveled at much recent music scholarship is the lack of attention to "the music itself." Moreover, a significant body of research that does consider "the music" focuses on musical "objects" and/or texts, often overlooking important aspects of the processes involved in the creation of musical sounds. With attention to issues of historical and cultural context, this course focuses on the exploration, critique, and development of methodologies for the scholarly study of musical performance. Students will hone research techniques, critical perspectives and writing skills as they engage scholarship on topics including musical improvisation, interaction, perception, performance practice, and memory.

This practical course offers string in-field teaching experience through observation, and teaching in group classes and private lessons, in the Community Lab School program. All teaching scenarios will be supervised and critiqued by the instructor through videotapes and on-site observations. Activities will be held off-campus one evening weekly. The practicum would complement the existing course, MUS4815H.

DMA students will observe the undergraduate Wednesday night Piano Performance masterclass (with Parker, Orlov, Sicsic). Separate masterclass teaching scenarios will be created for the DMA students to gain practical experience in this masterclass setting (working with middle and high school piano students from the GTA). Masterclass teaching scenarios will be video recorded and discussed with the supervising instructor (M. Koga). A reflective research paper will be due at the end of the year.

This course will study issues and objectives in undergraduate piano pedagogy curriculum development. DMA students will observe the undergraduate piano pedagogy course PMU260 (taught by M. Koga), will review the current course curriculum (writing a review paper that is to be due at midterm), and will develop their own syllabus, weekly lesson plans, course assignments etc. by the end of the term.

DMA students are assigned to be mentored by their own studio teachers. They will observe a weekly lesson given by their studio teacher working with a 1st- or 2nd-year performance major. Four times each semester, the DMA student will (at the request of the main studio professor) work with/coach the 1st- or 2nd-year student in a private lesson, scheduled at a separate time from their regular weekly lessons. These coachings given by the DMA student will be video recorded to be reviewed/discussed with the primary instructor (M. Koga). A reflective paper about their teaching experience will be due at the end of the year. A one-hour oral examination will be conducted by the studio teacher, instructor of this course, and the DMA student, to discuss various aspects of the private-lesson scenarios experienced throughout the year.

This course offers students tools for analysis of and hands-on training in audio and video recording, as well as curation of completed projects for researchers, performers, and composers. Based on the expanded canon of music documentaries, field recordings, podcasts, as well as participatory and community-engaged multimedia creation, students are introduced to the theory and practice of audiovisual recording. Readings draw from music studies, media studies, sound studies, film studies, and visual anthropology. Students are encouraged to incorporate projects from their respective programs into coursework, including community-based research and iterative editing methodologies. Work in progress is presented for peer feedback, and upon completion in a final presentation with a written reflection piece. Students may also submit proposals for exhibition curation, with analyses and supplementary literature reviews.