Graduate and Postdoctoral
Studies 2008-09
Studies 2008-09
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Graduate and Postdoctoral Studies 2008-09 |
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53 Music, Schulich School of
Schulich School of Music
Strathcona Music Building
555 Sherbrooke Street West
Montreal, QC H3A 1E3
CanadaDean, Schulich School of Music
Don McLean
Director, Graduate Studies
Eleanor Stubley
Chair, Department of Music Research
Peter Schubert
Chair, Department of Performance
André Roy
Associate Dean (Administration)
Bruce Minorgan
Associate Dean (Academic and Student)
Gordon Foote
53.1 Staff
Emeritus Professors
Edith Della Pergola; Graduate, Royal Conservatory (Bucharest)
Dorothy Morton; Graduate, Conservatoire de Musique de Québec
Professors
William Caplin; B.M.(S. Calif.), M.A., Ph.D.(Chic.) (James McGill Professor)
Brian Cherney; Mus.Bac., Mus.M., Ph.D.(Tor.)
John Grew; L.T.C.L.(Lond.), B.Mus.(Mt. All.), M.Mus.(Mich.) D.D.(U.T.C.); LL.D.(Mt. All.); University Organist
Steven Huebner; B.A., B.Mus., L.Mus.(McG.), M.F.A., Ph.D.(Princ.) (James McGill Professor)
Stephen McAdams; B.Sc.(McG.), Ph.D.(Stan.), D.Sc.(Paris)
John Rea; B.Mus.(Wayne St.), M.Mus.(Tor.), M.F.A., Ph.D.(Princ.)
Wieslaw Woszczyk; M.A., Ph.D.(F. Chopin Academy of Music, Warsaw) (James McGill Professor)
Associate Professors
Theodore Baskin; B.Mus.(Curtis), M.Mus.(Auck.); Principal Oboe, Montreal Symphony
Tom Beghin; Diplome Superieur(Louvain), M.A., D.M.A.(C'nell.)
Denys Bouliane; B.Mus., M.Mus.(Laval), Graduate, Hochschule für Musik(Hamburg)
David Brackett; B.A.(Calif.-Santa Cruz), M.M.(New England Conservatory), D.M.A.(C'nell.)
Julie Cumming; B.A.(Col.), M.A., Ph.D.(Calif., Berk.)
Kevin Dean; B.M.E.(Iowa), M.Mus.(Miami)
Martha de Francisco; Diploma(Musikkhochschule, Detmold)
Philippe Depalle; B.Sc.(Paris XI and ENS Cachan), D.E.A.(Le Mans and ENS Cachan), Ph.D.(Le Mans & IRCAM) (William Dawson Scholar)
Lucile Evans; Dip.(Vincent d'Indy)
Gordon Foote; B.Sc., M.A.(Minn.)
Matt Haimovitz; B.A.(Harv.)
Kyoko Hashimoto; B.A.(Tokyo)
Alexis Hauser; Diplom(Konservatorium der Stadt, Wien)
Timothy Hutchins; Dip. L.G.S.M.(Guildhall), B.A.Hons.Mus.(Dal.), Principal Flute, Montreal Symphony
Jan Jarczyk; B.A., M.A.(Academy of Music, Cracow), Dip.(Berklee)
Abe Kestenberg
Hank Knox; B.Mus., M.Mus.(McG.) (William Dawson Scholar)
Sara Laimon; B.Mus.(Br. Col.), M.Mus.(Yale), D.M.A.(SUNY, Stony Brook)
Richard Lawton; B.Mus.(McG.), M.Mus.(Ind.)
William Martens; B.A.(Miami), Ph.D.(N'western)
Don McLean; Mus.Bac., M.A., Ph.D.(Tor.)
Michael McMahon; B.Mus.(McG.), Graduate, Hochschule für Musik(Vienna)
Douglas McNabney; B.Mus.(Tor.), M.M.(W. Ont.), D.Mus.(Montr.)
Marina Mdivani; Post-graduate Dip.(Moscow Cons.)
Bruce Minorgan; B.Mus.(Br. Col.), M.A.(Tor.)
Christoph Neidhöfer; Graduate, Hochschule für Musik(Basel), Ph.D.(Harv.)
Tom Plaunt; B.A.(Tor.), Graduate, Nordwestdeutsche Musikakademie(Detmold, Germany)
Richard Raymond; Premier Prix(Cons. de Montréal), M.Mus.(Montr.)
Peter Schubert; B.A., M.A., Ph.D.(Col.)
Thérèse Sevadjian; B.Mus., M.Mus.(Montr.)
Eleanor Stubley; B.Mus.(Tor.), M.Mus.(Bran.), Ph.D.(Ill.)
Julian Wachner; B.Mus., Mus.Doc.(Boston)
Joel Wapnick; B.A.(N.Y.), M.A.(SUNY), M.F.A.(Sarah L.), Ed.D.(Syr.)
Thomas Williams; B.Mus.(Bran.)
John Zirbel; B.Mus.(Wis.), Principal Horn, Montreal Symphony
Luba Zuk; L.Mus.(McG.), Graduate, Con. de Mus. de Qué.
Assistant Professors
Stefano Algieri
Lisa Barg; B.A.(Antioch), M.A., Ph.D.(SUNY)
Rémi Bolduc
James Box; B.M.(Southern Methodist U.), M.M.(Cleveland Inst. Music), Principal Trombone, Montreal Symphony
Alain Cazes; Premier Prix (Cons. de Montréal)
Carolyn Christie; B.Mus.(McG.); Montreal Symphony
Isabelle Cossette; Premier Prix (Cons. de Qué), M.Mus. (McG.), D.Mus. (Montr.)
Jonathan Crow; B.Mus.(McG.)
Robert Crowley; B.M.(Eastman), M.M.(Cleveland); Principal Clarinet, Montreal Symphony
René Daley; B.Mus.(Lawrence), M.A., M.Mus.(Mannes), Ph.D.(Mich.)
Russell DeVuyst; B.Mus.Ed.(Boston Cons.), M.M.(New England Cons.); Associate Principal Trumpet, Montreal Symphony
Elizabeth Dolin; B.Mus.(Tor.), Artist Dip.(Ind.)
Sean Ferguson; B.Mus.(Alta.), M.Mus., D.Mus.(McG.)
Mark Fewer; B.Mus.(Tor.)
Ichiro Fujinaga; B.Mus., B.Sc.(Alta.), M.A., Ph.D.(McG.)
Jean Gaudreault; LL.L.(Montr.), Graduate, Conservatoire
de Musique de Québec, Montreal SymphonyPatrick Hansen; B.Mus.(Simpson), M.Mus.(Missouri)
Chris Harman
Aiyun Huang; B.A.(Tor.), D.M.A.(Calif.-San Diego)
Valerie Kinslow; B.A.(McG.)
Roe-Min Kok; B.Mus.(Texas), M.A.(Duke), Ph.D.(Harv.)
Joanne Kolomyjec; B.Mus.(Tor.)
Jean Lesage; Concours, Diplôme d'études supérieures(Cons.
de Montréal)Stéphane Lévesque; Premier Prix(Cons. de Montréal), M.Mus.(Yale), Principal Bassoon, Montreal Symphony
Denise Lupien; B.M., M.M.(Juilliard), Concertmaster, Orchestre Métropolitain
Fabrice Marandola; Premier Prix (Conservatoire de Paris), M.Mus., Ph.D.(Sorbonne)
Michael Meraw; B.Mus., M.Mus.(McG.)
Dennis Miller; Principal Tuba, Montreal Symphony
William Porter; B.Mus.(Oberlin), M.M., M.M.A., D.M.A.(Yale)
Winston Purdy; B.Mus.(McG.), M.M.(Eastman)
René Quesnel; B.Mus., M.Mus., Ph.D.(McG.)
Richard Roberts; B.Mus.(Ind.); Concertmaster, Montreal Symphony
André Roy; B.Mus.(Curtis)
Charlene Ryan; B.Mus.(M.U.N.), (W. Ont.), M.Mus.(Mich.),
Ph.D.(McG.)Gary Scavone; B.Sc., B.A.(Syr.); M.Sc., Ph.D.(Stan.)
Sanford Sylvan; B.Mus.(Manhattan School of Music)
Joe Sullivan; B.A.(Ott.), M.M.(New England Cons.)
Jennifer Swartz; Dip. (Curtis), Principal Harp, Montreal Symphony
Marcelo Wanderley; B.Eng.(UFPR), M.Eng.(UFSC), Ph.D.(Paris VI and IRCAM)
André White; B.A.(C'dia.), M.Mus.(McG.)
Lloyd Whitesell; B.A.(Minn.), M.A., Ph.D.(SUNY, Stony Brook)
Jonathan Wild; B.Mus., M.A.(McG)
Adjunct Professors
Soren Bech; M.Sc., Ph.D.(Tech. Univ. of Denmark)
Jonas Braasch; Ph.D.(Ruhr-Univ. Bochum)
Kenneth Gilbert; D.Mus.honoris causa(McG.), O.C., F.R.S.C.,
Hon RAMJean-Paul Montagnier; B.A., M.A.(Lyon), Ph.D.(Duke)
Axel Mulder; Drs.(Rijks Universiteit Groningen), Ph.D.(S. Fraser)
Bruce Pennycook; B.Mus., M.Mus.(Tor.), DMA(Stan.)
Marc-Pierre Verge; B.A, M.Sc.(Laval), Ph.D.(Eindhoven)
53.2 Programs Offered
The Master of Arts degree (M.A.) is available as a thesis option in Music Education, Music Technology, Musicology, and Theory and as a non-thesis option in Music Education, Musicology, and Theory.
The Master of Music degree (M. Mus.) is available in Composition, Performance, and Sound Recording. Specializations offered within the Performance option are: piano, guitar, orchestral instruments, organ, conducting, chamber music, orchestral training, piano accompaniment, vocal, opera, opera coaching, vocal pedagogy, early music, church music - organ, and jazz.
The Doctor of Music degree (D.Mus.) is offered in Composition and Performance Studies while the Doctor of Philosophy degree (Ph.D.) is available in Composition, Music Education, Musicology, Music Technology, Sound Recording and Theory. Interdisciplinary studies are encouraged.
There are opportunities for graduate students to obtain funding by being hired as assistants through the Schulich School of Music. Positions are available as: teaching assistants, apprentice writers for program notes, sound recording technicians, dubbing technicians, correctors, library assistanships and invigilators. A variety of research assistantships in selected areas are also available. Inquiries should be directed to the Chair of the Department of Music Research or the Chair of the Department of Performance, as appropriate.
53.3 Admission Requirements
Masters' Degrees
Applicants for the Master's degree must hold a B.Mus. or a B.A. degree with a Major or Honours in Music including considerable work done in the area of specialization.
All applicants (except those for performance and sound recording) will be required to take placement examinations. Applicants found to be deficient in their background preparation may be required to take certain additional undergraduate courses.
Applicants to the Composition, Music Education, Music Technology, Musicology, Sound Recording, and Theory programs are requested to submit samples of work done in their special area.
Applicants to the Music Education program should normally have had two years of teaching experience.
All applicants to the Performance program will be required to pass an entrance audition. Only those applicants who clearly demonstrate the potential to become professional performers on their instruments will be admitted.
Applicants to the Vocal Pedagogy option should have a minimum of three to four years experience in studio teaching.
A reading knowledge of German is strongly recommended as a prerequisite for graduate work in Choral Conducting, Musicology, and Theory.
Prerequisite Undergraduate Courses for M.Mus. - Sound Recording
In order to be considered for admission to the Master of Music in Sound Recording, students must attain a minimum grade of "B" in all of the courses listed below and must have a B.Mus. degree.
Schulich School of Music
MUCO 260 Instruments of the Orchestra
MUMT 202 Fundamentals of New Media
MUMT 203 Introduction to Digital Audio
MUSR 232 Introduction to Electronics
MUSR 300D1/MUSR 300D2 Introduction to Music Recording
MUSR 339 Introduction to Electroacoustics
One of (Complementary):
MUMT 302 New Music Production 1
MUMT 306 Music and Audio Computing 1
Faculty of Science
PHYS 224 Physics and Psychophysics of Music
PHYS 225 Musical Acoustics
Prerequisite Undergraduate Courses for M.Mus. -Performance
Applicants to the performance program are expected to have a background in Music Theory equivalent to the B.Mus. in Performance. Applicants found to be deficient in their background preparation may be required to take certain additional music theory undergraduate courses.
Piano Accompaniment
An undergraduate major in Piano.
MUHL 570 Research Methods in Music
One of:
MUHL 372 Solo Song outside Germany and Austria
MUHL 390 The German LiedTwo of:
MUPG 210 Italian Diction (or equivalent)
MUPG 211 French Diction (or equivalent)
MUPG 212 English Diction (or equivalent)
MUPG 213 German Diction (or equivalent)Orchestral Conducting
MUCO 260 Instruments of the Orchestra
MUCO 261 Elementary Orchestration
MUCO 460D1/MUCO 460D2 Advanced Orchestration
MUHL 389 Orchestral Literature
MUHL 570 Research Methods in Music
MUIT 201 String Techniques
MUIT 202 Woodwind Techniques
MUIT 203 Brass Techniques
MUIT 204 Percussion Techniques
MUPG 315D1/MUPG 315D2 Introduction to Orchestral Conducting (or equivalent)
Choral Conducting
GERM 202 German Language, Beginners
MUCO 260 Instruments of the Orchestra
MUCO 261 Elementary Orchestration
MUCT 415 Choral Conducting 2 (or equivalent)
MUHL 397 Choral Literature after 1750
MUHL 570 Research Methods in Music
MUIN 110 or 111 Elective Practical Instruction 1 or 2 (Voice)
Wind Band Conducting
An undergraduate major in Wind or Percussion instruments.
MUCO 260 Instruments of the Orchestra
MUCO 261 Elementary Orchestration
MUHL 398 Wind Ensemble Literature after 1750
MUHL 570 Research Methods in Music
MUIT 202 Woodwind Techniques
MUIT 203 Brass Techniques
MUIT 204 Percussion Techniques
MUIT 415 Advanced Instrumental Conducting (or equivalent)
Jazz Performance
MUHL 393 History of Jazz
MUJZ 440D1/MUJZ 440D2 Advanced Jazz Composition
MUJZ 461D1/MUJZ 461D2 Advanced Jazz Arranging
MUJZ 493 Jazz Performance Practice
Early Music
MUHL 570 Research Methods in Music
MUPP 381 Topics: Performance Practice before 1800
Plus 6 credits from the following with a least one course from each group:Group 1:
MUHL 380 Medieval Music
MUHL 381 Renaissance Music
MUHL 382 Baroque Music
MUHL 383 Classical MusicGroup 2:
MUHL 395 Keyboard Literature before 1750
MUHL 591D1/MUHL 591D2 PaleographyOrgan/Harpsichord:
MUPG 272D1/MUPG 272D2 ContinuoVoice
Two of:
MUPG 210 Italian Diction (or equivalent)
MUPG 211 French Diction (or equivalent)
MUPG 212 English Diction (or equivalent)
MUPG 213 German Diction (or equivalent)Orchestral Training
MUHL 389 Orchestral Literature
MUHL 570 Research Methods in MusicPiano (Solo and Chamber Music)
MUHL 570 Research Methods in Music
One of:
MUHL 366 The Era of the Fortepiano
MUHL 396 Era of the Modern PianoVoice (Vocal Opera Coach, Opera Performance, Vocal Pedagogy and Vocal Performance)
MUHL 570 Research Methods in Music
MUPG 210 Italian Diction
MUPG 211 French Diction
MUPG 212 English Diction
MUPG 213 German DictionTwo of:
MUHL 372 Solo Song outside Germany and Austria
MUHL 377 Baroque Opera
MUHL 387 Opera from Mozart to Puccini
MUHL 388 Twentieth-Century Opera
MUHL 390 The German LiedD.Mus. Degree
Applicants for the D.Mus. degree in Composition must hold an M.Mus. degree in Composition, or its equivalent, and must submit scores and/or recordings of their compositions at the time of application.
Applicants for the D.Mus. degree in Performance Studies must hold an M.Mus. degree in Performance, or its equivalent; are required to submit a screening DVD, and submit samples of written work and a statement of research interests by the December 15th deadline. Only the most advanced applicants will be invited to pass a live entrance audition and interview.
Ph.D. Degree
Applicants for the Ph.D. degree in Composition must hold an M.Mus. in Composition or equivalent and must submit scores and/or recordings of their compositions at the time of application, and a written description (no more than two pages) of the research path(s) they wish to follow.
Applicants for the Ph.D. degree in Music Technology, Music Education, Musicology, or Theory must hold a Master's or a Bachelor's degree equivalent to a McGill Honours degree, in Music Technology, Music Education, Musicology, or Theory. Applicants with a Bachelor's degree will normally be admitted to the M.A. program for the first year and may apply for admittance to the Ph.D. program after the completion of one full year of graduate course work. Qualified applicants who have already completed an appropriate Master's degree will be admitted to the second year of the program.
53.4 Application Procedures
McGill's online application form for graduate program candidates is available at www.mcgill.ca/applying/graduate. The Web application process will automatically charge a $80 application fee and, for Performance degrees, a $60 audition fee.
Deadline date for application and accompanying documentation is December 15.
Application will be considered upon receipt of:
1. online Web application;
2. two official copies of transcripts, sent directly by the registrars of universities attended (if documents are written in a language other than English or French, please submit an official certified translation in addition to the original documents);
3. two signed original letters of reference, on official letterhead;
4. submissions appropriate to area of specialization (www.mcgill.ca/music/prospective/graduate/procedures);
5. All M.Mus. applicants in conducting, female voices and piano will be required to submit recordings for pre-selection. All D.Mus. performance applicants will be required to submit a DVD for pre-selection. Following a review of these recordings/DVDs, selected applicants will be invited to attend a live audition.
6. TOEFL test results, where applicable.
All supporting documentation is to be submitted to Patrick O'Neill, Admissions Officer, Schulich School of Music.
53.5 Program Requirements
MASTERS' DEGREES
The minimum residence requirement for Masters' programs is 3 full-time terms; for Sound Recording, 4 full-time terms. In all programs a minimum number of formal courses are prescribed. The student's major work is expected to be thesis, research, composition or performance which will be done under the supervision of an adviser. This work, as well as any additional courses and/or individual study which the Department considers necessary, constitutes the central part of each program.
Applicants who hold the equivalent of a McGill B.Mus. with Honours in the area of specialization may be able to complete the Master's degree in less than two years.
Master of Music - Composition (Thesis)
(48 credits)
Required Courses
(12 credits)
M.A. in Music - Music Education (Thesis)
(48 credits)
Required Courses
(15 credits)
M.A. in Music - Music Technology (Thesis)
(48 credits)
Required Courses
(33 credits)
M.A. in Music - Musicology (Thesis)
(48 credits)
Required Courses
(15 credits)
Master of Music - Sound Recording (Non-Thesis)
(60 credits)
Required Courses
(51 credits)
M.A. in Music - Theory (Thesis)
(48 credits)
Required Courses
(15 credits)
M.A. in Music (Non-Thesis) options in Music Education, Musicology, and Theory
(45 credits)
Required Courses
(21 credits)
Master of Music - Performance: Solo - Guitar, Orchestral Instruments, Organ, Conducting
(45 credits)
Required Courses
(15 credits)
Master of Music - Performance: Chamber Music
(48 credits) (All instruments except Piano, Guitar, Early Music Instruments, Organ, Harp and Double Bass.)
Required Courses
(18 credits)
Master of Music - Performance: Solo Piano
(49 credits)
Required Courses
(22 credits)
Master of Music - Performance: Chamber Music - Piano
(49 credits)
Required Courses
(22 credits)
Master of Music - Performance
Piano Accompaniment(45 credits)
Required Courses
(21 credits)
Master of Music - Performance: Orchestral Training
(45 credits) (All orchestral instruments except Harp.)
Required Courses
(21 credits)
Master of Music - Performance: Opera Performance
(45 credits)
Required Courses
(21 credits)
Master of Music - Performance: Vocal Opera Coach
(45 credits)
Required Courses
(21 credits)
Master of Music - Performance: Vocal Performance
(49 credits)
Required Courses
(19 credits)
Master of Music - Performance: Vocal Pedagogy
(47 credits)
Required Courses
(27 credits)
Master of Music - Performance: Early Music
(48 credits) (Voice, baroque flute, recorder, baroque oboe, baroque violin, baroque viola, baroque cello, viola da gamba, harpsichord)
Required Courses
(15 credits)
Master of Music - Performance: Church Music - Organ
(45 credits)
Required Courses
(21 credits)
Master of Music - Performance: Jazz Performance
(49 credits) (Saxophone, Trumpet, Trombone, Drums, Piano, Guitar, Bass, Voice)
Required Courses
(19 credits)
Courses approved as electives for M.Mus. students in Performance:
All courses at the 600-level with the prefix MUCO, MUGS, MUGT, MUHL, MUMT, MUPP and MUTH and MUHL 591D1/D2 Paleography have been approved as electives for M.Mus. students in Performance.
Doctor of Music (D.Mus.) Degree Requirements - Composition
A minimum of two years' residence is required beyond the M.Mus. in Composition, or its equivalent.
Details concerning the comprehensive examinations, composition performance, thesis and academic regulations are available from the Student Affairs Coordinator, Schulich School of Music.
Required Courses
(24 credits)
Doctor of Music (D.Mus.) Degree Requirements - Performance Studies
A minimum of two years' residence is required beyond the M.Mus. in Performance, or its equivalent.
Details concerning the comprehensive examinations, composition performance, thesis and academic regulations are available from the Student Affairs Coordinator, Schulich School of Music.
Required Courses
(24-32 credits)
PH.D. DEGREE REQUIREMENTS
The Ph.D. requires a minimum of three years of full-time resident study (6 full-time terms) beyond a Bachelor's degree. A candidate who holds a Master's degree in the area of specialization may, on the recommendation of the Department, be permitted to count the work done for the Master's degree as the first year of resident study.
Requirements
53.6 Courses
Students preparing to register should consult the Web at www.mcgill.ca/minerva (click Class Schedule) for the most up-to-date list of courses available; courses may have been added, rescheduled or cancelled after this Calendar went to press. Class Schedule lists courses by term and includes days, times, locations, and names of instructors.
Courses with numbers ending D1 and D2
are taught in two consecutive terms (most commonly Fall and Winter). Students must register for both the D1 and D2 components. No credit will be given unless both components (D1 and D2) are successfully completed in consecutive terms.
The course credit weight is given in parentheses after the title.
SEMINARS
Enrolment in seminars will normally be limited to 10. Each year a selection of the following courses are offered:
MUCO 631 Seminar in Composition 1. (3) (3 hours)MUCO 632 Seminar in Composition 2. (3) (3 hours)MUCO 633 Seminar in Composition 3. (3) (3 hours)MUCO 634 Seminar in Composition 4. (3) (3 hours)MUCO 635 Seminar in Composition 5. (3) (3 hours)MUCO 636 Seminar in Composition 6. (3) (3 hours)MUGT 610 Seminar - Music Education 1. (3) (3 hours)MUGT 611 Seminar - Music Education 2. (3) (3 hours)MUGT 612 Seminar - Music Education 3. (3) (3 hours)MUGT 613 Seminar - Music Education 4. (3) (3 hours)MUHL 680 Seminar in Musicology 1. (3) (3 hours)MUHL 681 Seminar in Musicology 2. (3) (3 hours)MUHL 682 Seminar in Musicology 3. (3) (3 hours)MUHL 683 Seminar in Musicology 4. (3) (3 hours)MUHL 684 Seminar in Musicology 5. (3) (3 hours)MUHL 685 Seminar in Musicology 6. (3) (3 hours)MUHL 692 Seminar in Music Literature 1. (3) (3 hours)MUHL 693 Seminar in Music Literature 2. (3) (3 hours)MUHL 694 Seminar in Music Literature 3. (3) (3 hours)MUHL 695 Seminar in Music Literature 4. (3) (3 hours)MUHL 696 Seminar in Music Literature 5. (3) (3 hours)MUHL 697 Seminar in Music Literature 6. (3) (3 hours)MUMT 610 Music Technology Seminar 1. (3) (3 hours)MUMT 611 Music Technology Seminar 2. (3) (3 hours)MUMT 612 Music Technology Seminar 3. (3) (3 hours)MUMT 613 Music Technology Seminar 4. (3) (3 hours)MUMT 614 Music Technology Seminar 5. (3) (3 hours)MUMT 615 Music Technology Seminar 6. (3) (3 hours)MUPP 690 Performance Practice Seminar 1. (3) (3 hours)MUPP 691 Performance Practice Seminar 2. (3) (3 hours)MUPP 692 Performance Practice Seminar 3. (3) (3 hours)MUPP 693 Performance Practice Seminar 4. (3) (3 hours)MUPP 694 Performance Practice Seminar 5. (3) (3 hours)MUPP 695 Performance Practice Seminar 6. (3) (3 hours)MUSR 690 Media Theory and Practice Seminar 1. (3) (3 hours)MUSR 691 Media Theory and Practice Seminar 2. (3) (3 hours)MUSR 692 Media Theory and Practice Seminar 3. (3) (3 hours)MUSR 693 Media Theory and Practice Seminar 4. (3) (3 hours)MUSR 694 Media Theory and Practice Seminar 5. (3) (3 hours)MUSR 695 Media Theory and Practice Seminar 6. (3) (3 hours)MUTH 652 Seminar in Music Theory 1. (3) (3 hours)MUTH 653 Seminar in Music Theory 2. (3) (3 hours)MUTH 654 Seminar in Music Theory 3. (3) (3 hours)MUTH 655 Seminar in Music Theory 4. (3) (3 hours)MUTH 656 Seminar in Music Theory 5. (3) (3 hours)MUTH 657 Seminar in Music Theory 6. (3) (3 hours)Topics for graduate seminars vary from year to year and are normally chosen according to the individual instructor's areas of research expertise. A list of detailed seminar descriptions can be found on the Schulich School of Music Website prior to Fall registration. The following indicates the scope of offerings with some sample topics. Note: Topics listed will not necessarily be offered in the upcoming year.
Composition Seminars:
Music After 1945; The Symphony in the Twentieth Century; The Music of Olivier Messiaen; The Music of Claude Vivier.
Music Technology Seminars:
Advanced Topics in Technological Applications in music; Advanced Topics in Music Cognition; Human Computer Interaction - Gestural Control of Sound Synthesis.
Media Theory and Practice Seminars:
Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium.
Music Education Seminars:
Leadership for the Performer and the Pedagogue; Research Methods in Music Education; Understanding the Performing Body.
Music Literature and Musicology Seminars:
The Music of Bela Bartok; The Nineteenth-century French Symphony; French opera from Carmen to Pelléas; Ethnomusicological Thought Past and Present; Canadian Opera; Gender Enhancement in the Film Musical; Gender and Jazz; Music Printing in the 16th-century; The "Roman de Fauvel"; The German Lied; Problems in Verdi Studies; Studies in the Wagner Operas; Musical Aesthetics.
Music Theory Seminars:
Theory and Analysis of Classical Form; Mathematical Set and Group Theory Models; Theories of Musical Rhythm and Meter; The Late Music of Igor Stravinsky; Tuning & Temperament; Bruckner and Heavy Metal: From Chord Power to Power Chord.
Performance Practice Seminars:
Performance Practice of the Beethoven Piano Sonatas; Performance Practice and the Standard Repertoire (18th and early 19th century); 20th- and 21st-century Performance Practice; Musical Practices of Glenn Gould.
COURSES
MUCO 541 Advanced Digital Studio Composition 1.
(3) (Prerequisite: MUCO 342 or permission of the instructor.) Advanced topics in digital studio composition. Aesthetics and poetics of electroacoustic composition. Analytical approaches to this repertoire. Use of digital signal processing and synthesis techniques. Creation of complete pieces incorporating music technology which may include a live performance component.
MUCO 542 Advanced Digital Studio Composition 2.
(3) (Prerequisite: MUCO 541.) Further advanced topics in digital studio composition culminating in a complete large-scale work incorporating music technology, including computer-assisted composition, analysis/resynthesis techniques, and new gestural controllers for live performance of digital musical instruments.
MUCO 622D1 (3), MUCO 622D2 (3) Composition Tutorial.
(Students must register for both MUCO 622D1 and MUCO 622D2) (No credit will be given for this course unless both MUCO 622D1 and MUCO 622D2 are successfully completed in consecutive terms)
MUCO 631 Seminar in Composition 1.
(3) (3 hours)
MUCO 632 Seminar in Composition 2.
(3) (3 hours)
MUCO 633 Seminar in Composition 3.
(3) (3 hours)
MUCO 634 Seminar in Composition 4.
(3) (3 hours)
MUCO 635 Seminar in Composition 5.
(3) (3 hours)
MUCO 636 Seminar in Composition 6.
(3) (3 hours)
MUCO 722D1 (3), MUCO 722D2 (3) Doctoral Composition Tutorial.
(Students must register for both MUCO 722D1 and MUCO 722D2) (No credit will be given for this course unless both MUCO 722D1 and MUCO 722D2 are successfully completed in consecutive terms)
MUCT 602 Seminar in Choral Techniques.
(3) (3 hours)
MUCT 603 Seminar in Choral Techniques.
(3) (3 hours)
MUEN 560 Chamber Music Ensemble.
(1)
MUEN 561 2nd Chamber Music Ensemble.
(1) (1 hour) (Prerequisite: Audition.) Chamber music of the Medieval, Renaissance and Baroque periods.
MUEN 568 Multiple Ensemble 1.
(1)
MUEN 572 Cappella Antica.
(2) (4 hours) (Prerequisite: Audition.) An ensemble of 8 to 12 voices specializing in early music. N.B. This ensemble may substitute as a Basic Ensemble in programs that specify Choral Ensemble, with Departmental approval.
MUEN 573 Baroque Orchestra.
(2) (4 hours) (Prerequisites: Audition AND MUEN 480 AND a prerequisite or corequisite of MUPP 381. Additional prerequisite for keyboard players: MUPG 372 with a grade of A-.) Open to singers and instrumentalists, this ensemble specializes in chamber music primarily of the Baroque era.
MUEN 578 Song Interpretation 1.
(1) (2 hours) (Prerequisite: Audition.) Normally open only to Voice and Piano Performance students. Study of the standard song repertoire with emphasis on the singer and pianist as partners. A public recital will be given at the end of each term.
MUEN 579 Song Interpretation 2.
(1)
MUEN 580 Early Music Ensemble.
(1) (Prerequisite: Audition. Prerequisite or corequisite for keyboard players: MUPG 272.) An ensemble of 4-6 vocalists and instrumentalists which performs music of the Medieval, Renaissance and Baroque periods.
MUEN 584 Studio Accompanying.
(1) (4 hours) (Prerequisite: MUEN 583 (formerly MUEN 483).) Highly qualified accompanists will be assigned to work independently with studio teachers and their students.
MUEN 587 Cappella McGill.
(2) (4 hours) (Prerequisite: Audition.) (Note: May be taken instead of Choral Ensemble.) An ensemble of 16 voices performing challenging repertoire from the Renaissance to the present day. Since the expection is a level of performance equivalent to a professional chamber ensemble, singers wishing to join this group should have had considerable ensemble experience, and advanced vocal and sight-reading skills.
MUEN 590 McGill Winds.
(2) (4-6 hours) (Prerequisite: Audition.)
MUEN 592 Chamber Jazz Ensemble.
(2) (Restriction: Open to Jazz Performance students only.) This ensemble will deal with the extensive repertoire of music which exists for small jazz orchestra (9-13 instruments).
MUEN 593 Choral Ensembles.
(2) (4 hours) (Prerequisite: Audition.) (Section 001 Chamber Singers: a group of approximately 24 mixed voices which explores the a capella repertoire of all periods as well as works with chamber accompaniment.) (Section 002 Concert Choir: an ensemble of approximately 60 voices (S.A.T.B.) which performs the repertoire from all periods appropriate to a group of this size.) (Section 003 University Chorus: a mixed chorus of approximately 100 which performs a variety of choral material including both traditional and popular selections.) (Section 004 Women's Chorale: an ensemble of approximately 40 women stressing the fundamentals of singing and ensemble participation.)
Students enroling in Choral Ensembles will be assigned to one of the above groups.
MUEN 594 Contemporary Music Ensemble.
(2) (4 hours) (Prerequisite: Audition.)
MUEN 595 Jazz Ensembles.
(2) (3-4 hours) (Prerequisite: Audition.)
MUEN 596 Opera Repetiteur.
(2) (6 hours) (Restriction: Open by audition to advanced pianists, and to students in conducting, who are interested in training as operatic coaches. Students enrolled for piano instruction at McGill must also have their practical teacher's approval) Supervised coaching of singers, and playing of scenes and productions; rehearsal pianists and backstage conducting responsibilities.
MUEN 597 Orchestral Ensembles.
(2) (6-7 hours) (Prerequisite: Audition.)
MUEN 684 Studio Accompanying.
(2) (Prerequisite: Audition; 2 hours) Students will be assigned to work as accompanists with performance teachers and their students.
MUEN 688 Multiple Ensembles.
(2) Student participation in more than one ensemble in different concert periods over the course of a term.
MUEN 696 Opera Theatre.
(2) (3-6 hours) (Prerequisite: open to all Graduate Performance and Artist Diploma students who have completed MUEN 496 or its equivalent.) Individual coaching in acting, movement and role preparation; possibility for roles in Opera McGill productions (by audition).
MUGS 614 Reading Course 1.
(3) Independent study of an approved topic or topics under the guidance of a supervisor. Topics will be chosen to suit individual needs and interests. The extent of reading, synthesis, and reporting will be agreed upon by the supervisor and the student at the beginning of the course.
MUGS 615 Reading Course 2.
(3) Independent study of an approved topic or topics under the guidance of a supervisor. Topics will be chosen to suit individual needs and interests. The extent of reading, synthesis, and reporting will be agreed upon by the supervisor and the student at the beginning of the course.
MUGS 635 Research Paper 1.
(9)
MUGS 635D1 (4.5), MUGS 635D2 (4.5) Research Paper 1.
(Students must register for both MUGS 635D1 and MUGS 635D2) (No credit will be given for this course unless both MUGS 635D1 and MUGS 635D2 are successfully completed in consecutive terms) (MUGS 635D1 and MUGS 635D2 together are equivalent to MUGS 635)
MUGS 636 Research Paper 2.
(9)
MUGS 636D1 (4.5), MUGS 636D2 (4.5) Research Paper 2.
(Students must register for both MUGS 636D1 and MUGS 636D2) (No credit will be given for this course unless both MUGS 636D1 and MUGS 636D2 are successfully completed in consecutive terms) (MUGS 636D1 and MUGS 636D2 together are equivalent to MUGS 636)
MUGS 675 Special Project.
(3) (Requires Departmental approval)
MUGS 675D1 (1.5), MUGS 675D2 (1.5) Special Project.
(Students must register for both MUGS 675D1 and MUGS 675D2) (No credit will be given for this course unless both MUGS 675D1 and MUGS 675D2 are successfully completed in consecutive terms) (MUGS 675D1 and MUGS 675D2 together are equivalent to MUGS 675)
MUGS 683 Master's Thesis Research 1.
(3)
MUGS 684 Master's Thesis Research 2.
(6)
MUGS 685 Master's Thesis Research 3.
(9)
MUGS 686 Master's Thesis Research 4.
(12)
MUGS 687 Master's Thesis.
(12)
MUGS 694 Special Topic Seminar.
(3) (3 hours)
MUGS 695 Special Topic Seminar.
(3) (3 hours)
MUGS 701 Comprehensive Examination Part 1.
(0)
MUGS 701D1 (0), MUGS 701D2 (0) Comprehensive Examination Part 1.
(Students must register for both MUGS 701D1 and MUGS 701D2) (No credit will be given for this course unless both MUGS 701D1 and MUGS 701D2 are successfully completed in consecutive terms) (MUGS 701D1 and MUGS 701D2 together are equivalent to MUGS 701)
MUGS 702 Comprehensive Examination Part 2.
(0)
MUGS 702D1 (0), MUGS 702D2 (0) Comprehensive Examination Part 2.
(Students must register for both MUGS 702D1 and MUGS 702D2) (No credit will be given for this course unless both MUGS 702D1 and MUGS 702D2 are successfully completed in consecutive terms) (MUGS 702D1 and MUGS 702D2 together are equivalent to MUGS 702)
MUGS 705 Colloquium.
(0)
MUGS 705D1 (0), MUGS 705D2 (0) Colloquium.
(Students must register for both MUGS 705D1 and MUGS 705D2) (No credit will be given for this course unless both MUGS 705D1 and MUGS 705D2 are successfully completed in consecutive terms) (MUGS 705D1 and MUGS 705D2 together are equivalent to MUGS 705)
MUGT 610 Seminar - Music Education 1.
(3) (3 hours)
MUGT 611 Seminar - Music Education 2.
(3) (3 hours)
MUGT 612 Seminar - Music Education 3.
(3) (3 hours)
MUGT 613 Seminar - Music Education 4.
(3) (3 hours)
MUHL 529 Proseminar in Musicology.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Prerequisite: open to all students in a Major or Honours program in Music History, and to students in other programs by permission of instructor) (Normally alternates with MUHL 591) Study of selected methodologies in musicology through critical examination of significant texts. Topics may include approaches to historiography, biography, editing and source studies, as well as aesthetics, literary criticism, semiology, feminist musicology, and ideology critique. Works by Adler, Adorno, Dahlhaus, Kerman, McClary, Meyer, Nattiez, and Subotnik, among others, will be addressed.
MUHL 570 Research Methods in Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231. Additional prerequisite: one MUHL or MUPP course at the 300 level or higher, or permission of instructor.) Survey and critical evaluation of research- and performance-related tools: composers' collected editions, monuments of music, bibliographies of music and music literature, discographies, directories, and databases. Topics will include: developing bibliographies, structuring written arguments, assessing academic and popular writings about music, and understanding the task of the music editor.
MUHL 591D1 (1.5), MUHL 591D2 (1.5) Paleography.
(1 hour) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Restriction: U3 honours students in History) (Normally alternates with MUHL 529) (Students must register for both MUHL 591D1 and MUHL 591D2.) (No credit will be given for this course unless both MUHL 591D1 and MUHL 591D2 are successfully completed in consecutive terms) The theory and practice of musical transcription for the period 1100 to 1600. Black modal notation, Franconian notation, French and Italian Ars Nova notation, Mannerism, white mensural notation, proportions, and lute and keyboard tablatures will be studied.
MUHL 653 Music Aesthetics and Criticism.
(3) (3 hours)
MUHL 680 Seminar in Musicology 1.
(3) (3 hours)
MUHL 681 Seminar in Musicology 2.
(3) (3 hours)
MUHL 682 Seminar in Musicology 3.
(3) (3 hours)
MUHL 683 Seminar in Musicology 4.
(3) (3 hours)
MUHL 684 Seminar in Musicology 5.
(3) (3 hours)
MUHL 685 Seminar in Musicology 6.
(3) (3 hours)
MUHL 692 Seminar in Music Literature 1.
(3) (3 hours)
MUHL 693 Seminar in Music Literature 2.
(3) (3 hours)
MUHL 694 Seminar in Music Literature 3.
(3) (3 hours)
MUHL 695 Seminar in Music Literature 4.
(3) (3 hours)
MUHL 696 Seminar in Music Literature 5.
(3) (3 hours)
MUHL 697 Seminar in Music Literature 6.
(3) (3 hours)
MUIN 600 Vocal Repertoire Coaching 1.
(2) (1 hour) A course in which the performer will have individual coaching sessions on repertoire, with emphasis on musical and linguistic nuance.
MUIN 601 Vocal Repertoire Coaching 2.
(2) (1 hour)
MUIN 602 Vocal Repertoire Coaching 3.
(2) Individual coaching sessions on advanced vocal repertoire, with emphasis on musical and linguistic nuance.
MUIN 700 Doctoral Repertoire Coaching 1.
(2) Individual tutorial coaching sessions in repertoire, with emphasis on musical and linguistic nuance.
MUIN 701 Doctoral Repertoire Coaching 2.
(2) Individual tutorial coaching sessions in repertoire, with emphasis on musical and linguistic nuance.
MUIN 702 Doctoral Repertoire Coaching 3.
(2) Individual tutorial coaching sessions in repertoire, with emphasis on musical and linguistic nuance.
MUIN 703 Doctoral Repertoire Coaching 4.
(2) Individual tutorial coaching sessions in repertoire, with emphasis on musical and linguistic nuance.
MUJZ 601 Jazz Pedagogy.
(3) (3 hours) A course designed to prepare students to teach jazz-related subjects at the university and professional level, with emphasis on ensemble direction and the instruction of improvisation, as well as course and curriculum development. Various pedagogical methods, philosophies, rehearsal techniques, and materials will be investigated.
MUJZ 640 Jazz Composition & Arranging 1.
(2) (2 hours) Analysis and application of a variety of jazz and 20th Century compositional and arranging techniques, including writing for small and medium size jazz ensembles.
MUJZ 641 Jazz Composition & Arranging 2.
(2) Students compose and arrange for a variety of instrumental combinations including large jazz ensembles of ten or more instruments.
MUJZ 644 Jazz Repertoire Project 1.
(2) Students investigate an approved area of jazz orchestral repertoire, under the supervision of a full-time faculty member.
MUJZ 645 Jazz Repertoire Project 2.
(2) (Prerequisite: MUJZ 644.) Jazz repertoire for any ensemble format may be explored.
MUMT 605 Digital Sound Synthesis and Audio Process.
(3) Basic principles of digital sound synthesis including techniques such as additive synthesis, frequency modulation, tuned resonators, waveshaping and digital audio processing techniques including simple delay systems, filters, reverberators, spatial controllers, etc. will be explored.
MUMT 609 Music, Media and Technology Project.
(3) (3 research/project hours) Independent music technology project. Students will prepare a statement of objectives, a comprehensive project design and a schedule of work, and will undertake the project on appropriate music technology platforms.
MUMT 610 Music Technology Seminar 1.
(3) (3 hours) Advanced topics in computer applications in music will be examined. Students will be expected to 1) present critical analyses of current research and 2) develop and implement software demonstrations.
MUMT 611 Music Technology Seminar 2.
(3) (3 hours) Advanced topics in computer applications in music will be examined. Students will be expected to 1) present critical analyses of current research and 2) develop and implement software demonstrations.
MUMT 612 Music Technology Seminar 3.
(3) (3 hours) Advanced topics in computer applications in music will be examined. Students will be expected to 1) present critical analyses of current research and 2) develop and implement software demonstrations.
MUMT 613 Music Technology Seminar 4.
(3) (3 hours) Advanced topics in computer applications in music will be examined. Students will be expected to 1) present critical analyses of current research and 2) develop and implement software demonstrations.
MUMT 614 Music Technology Seminar 5.
(3) (3 hours) Advanced topics in computer applications in music will be examined. Students will be expected to 1) present critical analyses of current research and 2) develop and implement software demonstrations.
MUMT 615 Music Technology Seminar 6.
(3) (3 hours) Advanced topics in computer applications in music will be examined. Students will be expected to 1) present critical analyses of current research and 2) develop and implement software demonstrations.
MUPG 590 Vocal Styles and Conventions.
(3) (3 hours) (Restriction: Not open to students who have taken MUPG 690.) Emphasis on vocal performance practices through practical application: text, language, inflection, pronunciation and interpretation considered with individuality of each student's voice and technical development. After examining historical treatises, students will discuss and present musical selections utilizing modern performance standards yet remaining true to stylistic demands of each period.
MUPG 620 Performance Tutorial 1.
(4)
MUPG 621 Performance Tutorial 2.
(4)
MUPG 622 Performance Tutorial 3.
(4)
MUPG 623 Performance Tutorial 4.
(4)
MUPG 624 Performance Tutorial 5.
(4)
MUPG 626 Jazz Performance/Composition Tutorial 1.
(4) Individual instruction in instrumental performance, jazz composition and arranging and jazz improvisation according to performing specialization.
MUPG 627 Jazz Performance/Composition Tutorial 2.
(4) Individual instruction in instrumental performance, jazz composition and arranging and jazz improvisation according to performing specialization.
MUPG 628 Jazz Performance/Composition Tutorial 3.
(4) Individual instruction in instrumental performance, jazz composition and arranging and jazz improvisation according to performing specialization, including work on various aspects of jazz artistry in preparation for recital requirements.
MUPG 646 Score- and Sight-Reading 1.
(1) Playing operatic piano-vocal scores at sight. Realizing at the piano operatic orchestral scores with emphasis on repertoire from before 1800.
MUPG 647 Score- and Sight-Reading 2.
(1) Playing operatic piano-vocal scores at sight. Realizing at the piano operatic orchestral scores with emphasis on repertoire from after 1800.
MUPG 650 Voice Lecture - Demonstration.
(3) The candidate is required to present his or her two voice students in a public mini-recital, to discuss their progress and to trace the pedagogical focus and choices that have been made during their two semesters of study.
MUPG 652 Jazz Ensemble Recital Project.
(9) (Restriction: Open to students in the b and c stream of the Jazz Performance option only.) A 60-75 minute recital presenting a repertoire of either original compositions and arrangements or previously composed jazz literature (depending upon stream), at least half of which must be for a large ensemble. Programme notes must be provided.
MUPG 653 Opera Coach Project.
(6) Preparation and performance of standard operatic repertoire and programme notes.
MUPG 654 Opera Coach Performance.
(6) Preparation and performance of specialized operatic repertoire.
MUPG 655 Opera Coach Quick Study.
(6) With one month's notice, the candidate must prepare an assigned operatic score, playing while singing all the parts. Historical research, stylistic performance, musical choices and linguistic command of the score are required.
MUPG 656 Vocal Quick Study.
(6) With one month's notice, the candidate must prepare an assigned group of songs, oratorios or operatic roles. Historical research, stylistic performance practices, musical and dramatic choices (where applicable) and vocal command of the material is required.
MUPG 656D1 (3), MUPG 656D2 (3) Vocal Quick Study.
(Students must register for both MUPG 656D1 and MUPG 656D2) (No credit will be given for this course unless both MUPG 656D1 and MUPG 656D2 are successfully completed in consecutive terms) (MUPG 656D1 and MUPG 656D2 together are equivalent to MUPG 656) With one month's notice, the candidate must prepare an assigned group of songs, oratorios or operatic roles. Historical research, stylistic performance practices, musical and dramatic choices (where applicable) and vocal command of the material is required.
MUPG 657 Opera Performance Project.
(6) Performance of a complete operatic role from the standard repertoire and programme notes.
MUPG 657D1 (3), MUPG 657D2 (3) Opera Performance Project.
(Students must register for both MUPG 657D1 and MUPG 657D2) (No credit will be given for this course unless both MUPG 657D1 and MUPG 657D2 are successfully completed in consecutive terms) (MUPG 657D1 and MUPG 657D2 together are equivalent to MUPG 657) Performance of a complete operatic role from the standard repertoire and programme notes.
MUPG 658 Opera Performance.
(6) Performance of a complete operatic role from the specialized repertoire.
MUPG 658D1 (3), MUPG 658D2 (3) Opera Performance.
(Students must register for both MUPG 658D1 and MUPG 658D2) (No credit will be given for this course unless both MUPG 658D1 and MUPG 658D2 are successfully completed in consecutive terms) (MUPG 658D1 and MUPG 658D2 together are equivalent to MUPG 658) Performance of a complete operatic role from the specialized repertoire.
MUPG 659 Performance in Recording Media.
(9) The candidate must submit a 60-75 minute audio and/or video document of his or her performances, compiled from various media sources. This might include radio, television, and/or studio recordings. All of the music must be composed and arranged by the candidate.
MUPG 659D1 (4.5), MUPG 659D2 (4.5) Performance in Recording Media.
(Students must register for both MUPG 659D1 and MUPG 659D2) (No credit will be given for this course unless both MUPG 659D1 and MUPG 659D2 are successfully completed in consecutive terms) (MUPG 659D1 and MUPG 659D2 together are equivalent to MUPG 659) The candidate must submit a 60-75 minute audio and/or video document of his or her performances, compiled from various media sources. This might include radio, television, and/or studio recordings. All of the music must be composed and arranged by the candidate.
MUPG 660 Solo Recital Project 1.
(12) Thesis recital (solo repertoire) and programme notes.
MUPG 660D1 (6), MUPG 660D2 (6) Solo Recital Project 1.
(Students must register for both MUPG 660D1 and MUPG 660D2) (No credit will be given for this course unless both MUPG 660D1 and MUPG 660D2 are successfully completed in consecutive terms) (MUPG 660D1 and MUPG 660D2 together are equivalent to MUPG 660) Thesis recital (solo repertoire) and programme notes.
MUPG 661 Chamber Recital Project 1.
(12) Thesis recital (chamber music repertoire) and programme notes.
MUPG 661D1 (6), MUPG 661D2 (6) Chamber Recital Project 1.
(Students must register for both MUPG 661D1 and MUPG 661D2) (No credit will be given for this course unless both MUPG 661D1 and MUPG 661D2 are successfully completed in consecutive terms) (MUPG 661D1 and MUPG 661D2 together are equivalent to MUPG 661) Thesis recital (chamber music repertoire) and programme notes.
MUPG 662 Solo and Chamber Music Recital.
(12)
MUPG 662D1 (6), MUPG 662D2 (6) Solo and Chamber Music Recital.
(Students must register for both MUPG 662D1 and MUPG 662D2) (No credit will be given for this course unless both MUPG 662D1 and MUPG 662D2 are successfully completed in consecutive terms) (MUPG 662D1 and MUPG 662D2 together are equivalent to MUPG 662)
MUPG 663 Quick Study Examination.
(6) (To be successfully completed before the first recital is performed)
MUPG 663D1 (3), MUPG 663D2 (3) Quick Study Examination.
(Students must register for both MUPG 663D1 and MUPG 663D2) (No credit will be given for this course unless both MUPG 663D1 and MUPG 663D2 are successfully completed in consecutive terms) (MUPG 663D1 and MUPG 663D2 together are equivalent to MUPG 663)
MUPG 664 Repertoire Examination.
(6)
MUPG 664D1 (3), MUPG 664D2 (3) Repertoire Examination.
(Students must register for both MUPG 664D1 and MUPG 664D2) (No credit will be given for this course unless both MUPG 664D1 and MUPG 664D2 are successfully completed in consecutive terms) (MUPG 664D1 and MUPG 664D2 together are equivalent to MUPG 664)
MUPG 665D1 (6), MUPG 665D2 (6) Accompanying Recital Project.
(Students must register for both MUPG 665D1 and MUPG 665D2) (No credit will be given for this course unless both MUPG 665D1 and MUPG 665D2 are successfully completed in consecutive terms)
Thesis recital (mixed repertoire) and programme notes.
MUPG 667 Solo Recital 2.
(12)
MUPG 667D1 (6), MUPG 667D2 (6) Solo Recital 2.
(Students must register for both MUPG 667D1 and MUPG 667D2) (No credit will be given for this course unless both MUPG 667D1 and MUPG 667D2 are successfully completed in consecutive terms) (MUPG 667D1 and MUPG 667D2 together are equivalent to MUPG 667)
MUPG 668 Chamber Music Recital 2.
(12)
MUPG 668D1 (6), MUPG 668D2 (6) Chamber Music Recital 2.
(Students must register for both MUPG 668D1 and MUPG 668D2) (No credit will be given for this course unless both MUPG 668D1 and MUPG 668D2 are successfully completed in consecutive terms) (MUPG 668D1 and MUPG 668D2 together are equivalent to MUPG 668)
MUPG 670 Advanced Continuo 1.
(2) A historically-oriented study of the principles of figured bass. Standard idioms from historical treatises will be introduced. Preparation of operatic excerpts from the standard high Baroque repertory is required.
MUPG 671 Advanced Continuo 2.
(2) (2 hours) (Prerequisite: MUPG 670) A study of the many different styles of figured bass accompaniment as revealed in contemporary sources. The emphasis will be on realization at the keyboard of representative 17th- and 18th- century operatic recitatives and arias.
MUPG 672D1 (1.5), MUPG 672D2 (1.5) Liturgical Improvisation.
(1 1/2 hours) (Students must register for both MUPG 672D1 and MUPG 672D2) (No credit will be given for this course unless both MUPG 672D1 and MUPG 672D2 are successfully completed in consecutive terms) The study and practice of cantus firmus-based improvisation according to selected stylistic models so as to provide diversity of techniques, styles and tonalities. Free improvisation is studied in conjunction with C.F. improvisation. Modulation is taught in both C.F.-based and free improvisation; emphasis being placed on clarity and liturgical appropriateness.
MUPG 675 Special Project in Performance 1.
(3) (Requires Departmental approval)
MUPG 675D1 (1.5), MUPG 675D2 (1.5) Special Project in Performance 1.
(Students must register for both MUPG 675D1 and MUPG 675D2) (No credit will be given for this course unless both MUPG 675D1 and MUPG 675D2 are successfully completed in consecutive terms) (MUPG 675D1 and MUPG 675D2 together are equivalent to MUPG 675)
MUPG 676D1 (3), MUPG 676D2 (3) Special Project in Performance 2.
(Students must register for both MUPG 676D1 and MUPG 676D2) (No credit will be given for this course unless both MUPG 676D1 and MUPG 676D2 are successfully completed in consecutive terms)
MUPG 677 Seminar in Performance Topics 1.
(3) (3 hours)
MUPG 678 Seminar in Performance Topics 2.
(3) (3 hours)
MUPG 681 Piano Seminar 1.
(2) (3 hours.) Comparative studies of recorded solo and ensemble repertoire, and lecture-recital presentations reflecting knowledge of historical context and performance practice.
MUPG 682 Piano Seminar 2.
(2) (3 hours.) Detailed critiques of in-class teaching, and general discussion of preparation for competitions and academic job applications.
MUPG 685 Master Class - 20th-Century Piano Music.
(3) (3 hours) Students will explore the piano repertoire of the 20th century. Repertoire will include such diverse music as that of Milhaud, Ives, Boulez, Berio, etc., as well as the recent Canadian music of Tremblay, Mather, etc. Performance of work(s) studied is a requirement for the course.
MUPG 686 Master Class - String Chamber Music.
(3) (3 hours) Advanced studies of the chamber music repertoire, intended for graduate string players. Students will gain firsthand experience playing, reading (in rotation) and studying works both with their colleagues and occasionally with the instructor; discussion of master recordings and active listening with scores.
MUPG 691 Vocal Seminar 1.
(3) (3 hours) (Restriction: Open to singers, pianists, and conductors with permission of instructor.)
MUPG 692 Vocal Seminar 2.
(3) (3 hours) (Restriction: Open to singers. pianists, and conductors with permission of instructor.)
MUPG 693 Vocal Treatises and Methods.
(3) (3 hours)
MUPG 694 Vocal Physiology for Singers.
(3) (3 hours) An anatomical study of the entire vocal mechanism; how to keep it functioning in a healthy manner, the various possible dysfunctions and how to diagnose and treat them.
MUPG 720 D.Mus. Performance Tutorial 1.
(4) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 721 D.Mus. Performance Tutorial 2.
(4) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 722 D.Mus. Performance Tutorial 3.
(4) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 723 D.Mus. Performance Tutorial 4.
(4) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 724 D.Mus. Performance Tutorial 5.
(4) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 725 D.Mus. Performance Tutorial 6.
(4) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 730 D.Mus. Performance Tutorial 8.
(6) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 731 D.Mus. Performance Tutorial 9.
(6) Individual instrumental or vocal tutorial. Advanced technical or interpretive training as well as recital preparation.
MUPG 732 D.Mus. Performance Tutorial 10.
(6) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 733 D.Mus. Performance Tutorial 11.
(6) Individual instrumental or vocal tutorial. Advanced technical and interpretive training as well as recital preparation.
MUPG 760 Doctoral Recital 1.
(12) A full-length public recital which includes a minimum of 60 minutes of music.
MUPG 767 Doctoral Recital 2.
(12) A full-length public recital which includes a minimum of 60 minutes of music.
MUPG 770 Doctoral Lecture - Recital Project.
(12) The lecture-recital comprises a minimum of 35 minutes of music and 25 to 35 minutes of oral presentation. The examiners and audience may question the candidate following the lecture-recital. The subject and repertoire will also be treated in a project paper, submitted within two months of the lecture-recital.
MUPP 690 Performance Practice Seminar 1.
(3) (3 hours)
MUPP 691 Performance Practice Seminar 2.
(3) (3 hours)
MUPP 692 Performance Practice Seminar 3.
(3) (3 hours)
MUPP 693 Performance Practice Seminar 4.
(3) (3 hours)
MUPP 694 Performance Practice Seminar 5.
(3) (3 hours)
MUPP 695 Performance Practice Seminar 6.
(3) (3 hours)
MUSR 629D1 (2), MUSR 629D2 (2) Technical Ear Training.
(1 hour tutorial, 2 hours laboratory.) (Students must register for both MUSR 629D1 and MUSR 629D2.) (No credit will be given for this course unless both MUSR 629D1 and MUSR 629D2 are successfully completed in consecutive terms.) (Restriction: Not open to students who have taken MUMT 629D1/D2.) This course will, through a sequence of specific auditory exercises, develop and improve students' aural sensitivity to small changes in sound quality. Students train to identify spectral variables in sound, develop stable reference of sound quality and learn about spectral characteristics of musical instruments.
MUSR 631D1 (2), MUSR 631D2 (2) Advanced Technical Ear Training.
(1 hour tutorial, 2 hours laboratory) (Prerequisite: MUMT 629.) (Students must register for both MUSR 631D1 and MUSR 631D2.) (No credit will be given for this course unless both MUSR 631D1 and MUSR 631D2 are successfully completed in consecutive terms.) (Restriction: Not open to students who have taken MUMT 631D1/D2.) Included in this course are exercises for developing some of the following aural skills: identification and quantification of spatial parameters of sound image, nonlinear and transient distortion audibility, identification of coherent and incoherent noise, sound source identification in complex textures, sound enhancement and reconstruction.
MUSR 667 Digital Studio Technology.
(3) (3 hours lecture) (Restriction: Not open to students who have taken MUMT 667.) Technical and operational characteristics of different digital recording systems currently employed by the recording industry.
MUSR 668 Digital/Analog Audio Editing.
(3) (1 hour tutorial, 3 hours studio time.) (Restriction: Not open to students who have taken MUMT 668.) Using analog and digital record/playback equipment, students learn, through practice, the art of replacing, patching, rebalancing, reconstructing, or generally speaking, improving recorded music through editing. Teaching will include cut and splice editing, disk-based editing, and editing by transfer and mixing.
MUSR 669 Topics:Classical Music Recording.
(3) (3 hours lecture) (Restriction: Not open to students who have taken MUMT 669 or MUMT 669D1/D2.) Issues involving classical music recording. Topics may include: analysis of performance styles, acoustics of concert halls, production of music videos, seminars with recording producers, tonmeisters, classical music in multimedia, and others.
MUSR 669D1 (1.5), MUSR 669D2 (1.5) Topics:Classical Music Recording.
(3 hours lecture) (Students must register for both MUSR 669D1 and MUSR 669D2.) (No credit will be given for this course unless both MUSR 669D1 and MUSR 669D2 are successfully completed in consecutive terms.) (MUSR 669D1 and MUSR 669D2 together are equivalent to MUSR 669.) (Restriction: Not open to students who have taken MUMT 669 or MUMT 669D1/D2.) Issues involving classical music recording. Topics may include: analysis of performance styles, acoustics of concert halls, production of music videos, seminars with recording producers, tonmeisters, classical music in multimedia, and others.
MUSR 670D1 (5), MUSR 670D2 (5) Recording Theory and Practice 1.
(3 hours seminar, 6 hours studio time.) (Prerequisite: MUMT 300.) (Students must register for both MUSR 670D1 and MUSR 670D2.) (No credit will be given for this course unless both MUSR 670D1 and MUSR 670D2 are successfully completed in consecutive terms.) (Restriction: Not open to students who have taken MUMT 670D1/D2.) Theoretical and practice study of recording equipment, procedures and techniques. Recording sessions and live stereo recording, using the recording studio, concert hall and portable equipment for on-location recording. Also included will be an introduction to the areas of radio drama, broadcast recording and radio commercials.
MUSR 671D1 (5), MUSR 671D2 (5) Recording Theory and Practice 2.
(3 hours seminar, 6 hours studio time.) (Prerequisite: MUSR 670D1/D2 (formerly MUMT 670D1/D2).) (Students must register for both MUSR 671D1 and MUSR 671D2.) (No credit will be given for this course unless both MUSR 671D1 and MUSR 671D2 are successfully completed in consecutive terms.) (Restriction: Not open to students who have taken MUMT 671D1/D2.) Emphasis on multi-track recording theory and practice. The course will also concentrate on expanded multi-track procedures: signal processing, overdubbing, mixing, editing, and producing.
MUSR 672D1 (3), MUSR 672D2 (3) Analysis of Recordings.
(3 hours.) (Students must register for both MUSR 672D1 and MUSR 672D2.) (No credit will be given for this course unless both MUSR 672D1 and MUSR 672D2 are successfully completed in consecutive terms.) (Restriction: Not open to students who have taken MUMT 672D1/D2.) The analysis of recording engineering, production, performance, aesthetics and technical quality of selected recordings.
MUSR 674 Electronic and Electroacoustic Measurement.
(3) (1 1/2 hours lecture, 1 1/2 hours laboratory) This course demonstrates the instruments, measurement procedures, and techniques used in a recording studio to determine the acoustical properties of a room and the transfer functions of devices used in a studio. Theoretical lectures on electronic test instrumentation and measurement methods are combined with practical application.
MUSR 674D1 (1.5), MUSR 674D2 (1.5) Electronic and Electroacoustic Measurement.
(1 1/2 hours lecture, 1 1/2 hours laboratory) (Students must register for both MUSR 674D1 and MUSR 674D2.) (No credit will be given for this course unless both MUSR 674D1 and MUSR 674D2 are successfully completed in consecutive terms.) (MUSR 674D1 and MUSR 674D2 together are equivalent to MUSR 674.) (Restriction: Not open to students who have taken MUMT 674 or MUMT 674D1/D2.) This course demonstrates the instruments, measurement procedures, and techniques used in a recording studio to determine the acoustical properties of a room and the transfer functions of devices used in a studio. Theoretical lectures on electronic test instrumentation and measurement methods are combined with practical application.
MUSR 676 Audio Industry Experience.
(3) (Restriction: Not open to students who have taken MUMT 676 or MUMT 676D1/D2.)
MUSR 676D1 (1.5), MUSR 676D2 (1.5)
(Students must register for both MUSR 676D1 and MUSR 676D2.) (No credit will be given for this course unless both MUSR 676D1 and MUSR 676D2 are successfully completed in consecutive terms.) (MUSR 676D1 and MUSR 676D2 together are equivalent to MUSR 676.) (Restriction: Not open to students who have taken MUMT 676 or MUMT 676D1/D2.)
MUSR 677D1 (3), MUSR 677D2 (3) Audio for Video Post-Production.
(3 hours seminar, 4 hours studio time.) (Students must register for both MUSR 677D1 and MUSR 677D2.) (No credit will be given for this course unless both MUSR 677D1 and MUSR 677D2 are successfully completed in consecutive terms.) (Restriction: Not open to students who have taken MUMT 677D1/D2.) Theoretical study includes historical analysis of sound for image, audio post-production process for film and video, aesthetic and technical considerations in sound design, time code and synchronization, and final mix formats. Practical skills include field recording, sound library management, sound design, dialog, effects and music editing, and final mix process.
MUSR 678 Advanced Digital Editing and Post-Production.
(3) (3 hours.) (Prerequisite: MUSR 668 (formerly MUMT 668).) (Restriction: Not open to students who have taken MUMT 678.) This course covers advanced concepts and techniques of audio post-production using digital workstations. Students practise the assembly of raw material into a complete final product through editing, signal processing, mixing, sound restoration and pre-mastering.
MUSR 690 Media Theory and Practice Seminar 1.
(3) (3 hours) (Restriction: Not open to students who have taken MUMT 690.) Topics vary from year to year and are normally chosen according to the individual instructor's area of expertise. Topics to be covered may include the following: Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium, etc.
MUSR 691 Media Theory and Practice Seminar 2.
(3) (3 hours.) (Restriction: Not open to students who have taken MUMT 691.) Topics vary from year to year and are normally chosen according to the individual instructor's area of expertise. Topics to be covered may include the following: Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium, etc.
MUSR 692 Media Theory and Practice Seminar 3.
(3) (3 hours.) (Restriction: Not open to students who have taken MUMT 692.) Topics vary from year to year and are normally chosen according to the individual instructor's area of expertise. Topics to be covered may include the following: Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium, etc.
MUSR 693 Media Theory and Practice Seminar 4.
(3) (3 hours) (Restriction: Not open to students who have taken MUMT 693.) Topics vary from year to year and are normally chosen according to the individual instructor's area of expertise. Topics to be covered may include the following: Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium, etc.
MUSR 694 Media Theory and Practice Seminar 5.
(3) (3 hours) (Restriction: Not open to students who have taken MUMT 694.) Topics vary from year to year and are normally chosen according to the individual instructor's area of expertise. Topics to be covered may include the following: Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium, etc.
MUSR 695 Media Theory and Practice Seminar 6.
(3) (3 hours) (Restriction: Not open to students who have taken MUMT 695.) Topics vary from year to year and are normally chosen according to the individual instructor's area of expertise. Topics to be covered may include the following: Media Technology, Digital Restoration of Archival Recordings, Communications Systems and Standards, Audio Aesthetics of Video Musicals, Classical Music and the Television Medium, etc.
MUTH 528 Schenkerian Techniques.
(3) (3 hours) (Prerequisite: MUTH 310 or MUCO 240 OR Corequisite: MUTH 327 OR permission of instructor.) (Restriction: Limited enrolment with preference given to students in Honours Theory) Introduction to the principles and techniques of Schenkerian analysis. Interpretation and construction of reductive graphs through the analysis of a diversified repertoire of tonal works. Comparison with traditional methods of harmonic analysis (Rameau, Riemann, etc.).
MUTH 529 Proseminar in Music Theory 1.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) (Corequisites: MUTH 327 and MUHL 570 OR permission of instructor. Preference given to students in Honours Theory) A survey of various topics in contemporary music theory, including experimental aesthetics, indeterminacy, information theory, linguistics, microtonality, music technology, psycho-acoustics, and rhythmic theory.
MUTH 538 Mathematical Models/Musical Analysis.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) A survey of the theoretical and analytical writings from 1955 to the present, with emphasis on the following topics: a) atonal music (the works of Forte, Lewin, Rahn, Clough, Benjamin); b) twelve-tone music (Babbitt, Lewin, Mead); c) contour theory (Friedmann, West Marvin, Morris); and d) mathematical groups and transformational models (Lewin, Morris, Starr).
MUTH 652 Seminar in Music Theory 1.
(3) (3 hours)
MUTH 653 Seminar in Music Theory 2.
(3) (3 hours)
MUTH 654 Seminar in Music Theory 3.
(3) (3 hours)
MUTH 655 Seminar in Music Theory 4.
(3) (3 hours)
MUTH 656 Seminar in Music Theory 5.
(3) (3 hours)
MUTH 657 Seminar in Music Theory 6.
(3) (3 hours)
MUTH 658 History of Music Theory 1.
(3) (3 hours) Selected topics in the history of music theory from Greek antiquity to 1700 through readings of primary and secondary literature.
MUTH 659 History of Music Theory 2.
(3) (3 hours) Selected topics in the history of music theory from 1700 to the present through readings of primary and secondary literature.
ADVANCED UNDERGRADUATE COURSES
Students deficient in their background preparation may be required to take some of the following undergraduate courses in addition to their required graduate courses.
With the exception of MUHL 570 and and with departmental approval, all 500-level courses are available as elective courses to graduate students.
Denotes limited enrolment
MUHL 366 The Era of the Fortepiano.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) Survey of the repertoire for keyboard 1750-1850: the instruments, Empfindsamkeit, galant style, London, Paris, Vienna, the Czech school, Haydn, Mozart, Beethoven, sonatas, variations, character pieces, "high" and "low" salon music, virtuosos and the virtuoso repertoire, Schubert, Chopin, Schumann, Mendelssohn, early Liszt.
MUHL 372 Solo Song Outside Germany and Austria.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) Topics in American and European non-German song repertoire from the eighteenth century to the present. Issues discussed may include the role of song in national music culture, art song and folk song, national styles and poetic traditions, text-music relationships, and performance practice.
MUHL 377 Baroque Opera.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) History of opera from its origins in the musical, literary, and philosophical models available to the Florentine Camerata to the end of the baroque. The development of opera will be studied from the perspective of artistic style and in the light of historical, political, social, and economic conditions.
MUHL 380 Medieval Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Corequisites: MUTH 210 and MUSP 229) (Normally alternates with MUHL 381) The medieval style - an intensive study of one or more selected topics from the repertoire. Possible subjects include liturgical chant, Notre Dame, the medieval motet, secular developments, and instrumental literature.
MUHL 381 Renaissance Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Corequisites: MUTH 210 and MUSP 229) (Normally alternates with MUHL 380) Sacred and secular musical genres of the 15th and 16th Centuries. Various phases of imitative practice, cantus firmus and parody techniques. The emergence of homophonic textures in peripheral areas of the repertoire. Selected problems in the fields of theory, bibliography and aesthetics.
MUHL 382 Baroque Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Normally offered in alternate years) A detailed examination of several selected areas of Baroque music. Topics will be drawn from different geographical regions (e.g., Italy, France, Germany, etc.) and encompass church, chamber and theatre music, as well as performance practice. Each topic will be related to general musical developments of the period.
MUHL 383 Classical Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Normally offered in alternate years) The period covered will be from approximately 1740-1828, from the schools of the Italian keyboard composers, opera buffa and seria, and composers centered at Mannheim, Paris, London, Berlin and Vienna, through the Viennese Classic period of Haydn, Mozart and Beethoven, to the death of Schubert.
MUHL 384 Romantic Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Normally offered in alternate years) The Romantic style as traced by an analysis of works by the major composers of Lied, symphony, symphonic poem, chamber music, and opera.
MUHL 385 Early Twentieth-Century Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) Development of European, Russian, and American music from the 1890s until the early 1940s, tracing its roots in late 19th-century Romanticism and following its evolution in central Europe, France, and the United States. The music of major innovators such as Debussy, Stravinsky, Schoenberg, Ives, and Varèse will be discussed.
MUHL 387 Opera from Mozart to Puccini.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) Mozart's operas and the seria, buffa, and Singspiel traditions. Ottocento opera, grand opera, and cross-fertilization between France and Italy. German Romantic opera. Wagner. Eastern European opera. Verismo and fin-de-siècle opera in Vienna and Paris. Sociology of opera. Emphasis on critical understanding of music's role in articulating drama.
MUHL 396 Era of the Modern Piano.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) Survey of keyboard repertoire from 1850 to the present: instruments, the crisis at mid-century, character pieces, Brahms, late Liszt, national schools, commercialization - the concert hall, music for the bourgeois - salon music, Scriabin, the Second Viennese School, Impressionism, Neo-Classicism, Neo-Romanticism, serialism, the sonata in the 20th-century, North American composers.
MUHL 570 Research Methods in Music.
(3) (3 hours) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231. Additional prerequisite: one MUHL or MUPP course at the 300 level or higher, or permission of instructor.) Survey and critical evaluation of research- and performance-related tools: composers' collected editions, monuments of music, bibliographies of music and music literature, discographies, directories, and databases. Topics will include: developing bibliographies, structuring written arguments, assessing academic and popular writings about music, and understanding the task of the music editor.
MUHL 591D1 (1.5), MUHL 591D2 (1.5) Paleography.
(1 hour) (Prerequisites: MUHL 184 and MUHL 185 and MUTH 211 OR MUCO 240 and MUSP 231) (Restriction: U3 honours students in History) (Normally alternates with MUHL 529) (Students must register for both MUHL 591D1 and MUHL 591D2.) (No credit will be given for this course unless both MUHL 591D1 and MUHL 591D2 are successfully completed in consecutive terms) The theory and practice of musical transcription for the period 1100 to 1600. Black modal notation, Franconian notation, French and Italian Ars Nova notation, Mannerism, white mensural notation, proportions, and lute and keyboard tablatures will be studied.
MUMT 306 Music and Audio Computing 1.
(3) (3 hours) (Prerequisites: MUMT 202 and MUMT 203. Pre-/Co-requisite: COMP 251) Concepts, algorithms, data structures, and programming techniques for the development of music and audio software, ranging from musical instrument design to interactive music performance systems. Student projects will involve the development of various music and audio software applications.
MUMT 307 Music and Audio Computing 2.
(3) (3 hours) (Prerequisite: MUMT 306) Advanced programming techniques for the development of music and audio software, and system components (plugins). Development of audio and control systems. Advanced data structures, object-oriented programming, optimization of source code for DSP, debugging techniques. Projects will involve the development of various musical and audio software applications and plugins.
MUPG 372D1 (1), MUPG 372D2 (1) Continuo.
(1 hour) (Prerequisites: MUPG 272 AND permission of instructor. Enrolment limited to 4) (Students must register for both MUPG 372D1 and MUPG 372D2.) (No credit will be given for this course unless both MUPG 372D1 and MUPG 372D2 are successfully completed in consecutive terms) A study of 17th and 18th Century styles of figured-bass accompaniment as revealed in contemporary sources. The emphasis will be on the realization at the keyboard of representative works using original sources.
MUPP 381 Topics: Performance Practice before 1800.
(3) (3 hours) (Restriction: Enrolment limited to 20. May not be taken by students who have had MUPP 381, MUPP 382, or MUPP 384, except by permission of instructor) Issues in performance practice of prenineteeth-century music. Topics may include rhythmic interpretation, voices and instruments in Medieval and Renaissance polyphony, ornamentation, improvisation, performance venues and context. Sources include original notation and modern editions, treatises, iconography, organology, analysis, criticism, and recordings.
MUTH 301 Modal Counterpoint 1.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) Polyphonic techniques of the Renaissance period studied through analysis of works by Palestrina and others and through written exercises in two to three voices.
MUTH 302 Modal Counterpoint 2.
(3) (3 hours) (Prerequisite: MUTH 301) Continuation of Modal Counterpoint I. Study of more advanced techniques through further analysis and written exercises in three or more voices.
MUTH 303 Tonal Counterpoint 1.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) The contrapuntal techniques of J.S. Bach studied through detailed technical analysis of his work and through written exercises in two to three parts.
MUTH 304 Tonal Counterpoint 2.
(3) (3 hours) (Prerequisite: MUTH 303) Continuation of Tonal Counterpoint 1. Further analysis and written exercises in three to four parts with special emphasis on fugal techniques.
MUTH 310 Mid and Late 19th-Century Theory and Analysis.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) Expanded harmonic resources of the late 19th Century (e.g., foreign modulation, chromatic harmony). Analysis of characteristic small and large forms. Development of writing and analytical skills with a goal toward perceiving how levels of musical structure interact.
MUTH 311 20th-Century Theory and Analysis.
(3) (3 hours) (Prerequisite: MUTH 310) Exploration of 20th-Century systems of pitch organization and attitudes toward counterpoint (e.g., polytonality, modal systems, neo-classical tonality, serialism, linear counterpoint, etc.). Examination of the relationship of these systems to earlier practices. Development of written and analytical skills for the purpose of gaining insight into 20th-Century principles and techniques.
MUTH 327D1 (2), MUTH 327D2 (2) 19th-Century Analysis.
(Students must register for both MUTH 327D1 and MUTH 327D2.) (No credit will be given for this course unless both MUTH 327D1 and MUTH 327D2 are successfully completed in consecutive terms) (MUTH 327D1 and MUTH 327D2 together are equivalent to MUTH 327) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) The analysis of representative works of the 19th Century, selected from various genres of the period encompassed by late Beethoven, Schubert, and Berlioz to Mahler and Wolf. Some preliminary work in Schenkerian analysis will be undertaken.
MUTH 427D1 (2), MUTH 427D2 (2) 20th-Century Analysis.
(2 hours) (Students must register for both MUTH 427D1 and MUTH 427D2.) (No credit will be given for this course unless both MUTH 427D1 and MUTH 427D2 are successfully completed in consecutive terms) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) Analysis of a cross-section of 20th Century music from Debussy and Mahler to the present to: 1) provide analytical tools necessary for the understanding of pitch organization, form, rhythm, timbre, etc., in individual works; 2) introduce salient theoretical approaches pertaining to 20th Century music.
MUTH 528 Schenkerian Techniques.
(3) (3 hours) (Prerequisite: MUTH 310 or MUCO 240 OR Corequisite: MUTH 327 OR permission of instructor.) (Restriction: Limited enrolment with preference given to students in Honours Theory) Introduction to the principles and techniques of Schenkerian analysis. Interpretation and construction of reductive graphs through the analysis of a diversified repertoire of tonal works. Comparison with traditional methods of harmonic analysis (Rameau, Riemann, etc.).
MUTH 529 Proseminar in Music Theory 1.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) (Corequisites: MUTH 327 and MUHL 570 OR permission of instructor. Preference given to students in Honours Theory) A survey of various topics in contemporary music theory, including experimental aesthetics, indeterminacy, information theory, linguistics, microtonality, music technology, psycho-acoustics, and rhythmic theory.
MUTH 538 Mathematical Models/Musical Analysis.
(3) (3 hours) (Prerequisites: MUTH 211 or MUCO 240 and MUSP 231 and MUSP 171) A survey of the theoretical and analytical writings from 1955 to the present, with emphasis on the following topics: a) atonal music (the works of Forte, Lewin, Rahn, Clough, Benjamin); b) twelve-tone music (Babbitt, Lewin, Mead); c) contour theory (Friedmann, West Marvin, Morris); and d) mathematical groups and transformational models (Lewin, Morris, Starr).
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