School for Studies in Art and Culture
(Faculty of Arts and Social Sciences)
Music (MUSI) Courses
Note: the majority of courses are open to non-Majors; students are advised to consult the Discipline. Priority is given to Music students.
Introduction to the Study of Music
Introduction to issues and methods in the study of music. Development of writing and research skills; methodological approaches in all academic areas of music (historical musicology, ethnomusicology, popular music studies, music theory).
Lectures three hours a week.
A History of Western Classical Music: Medieval to the Present
Western classical music from the medieval period to the present. Major historical periods (Medieval, Renaissance, Baroque, Classical, Romantic, Modern, Postmodern) are examined through representative music ranging from Gregorian chant to contemporary experimental trends.
Issues in Popular Music
History of world popular music from the 19th century until the present. Topics may include the growth of the music industry, the impact of technology, stardom, world music, the role of the press, copyright, censorship, and sexuality.
Understanding Music
Through musical examples drawn from diverse cultures and historical periods, students develop the ability to describe and analyze different aspects of music and deepen their appreciation of music as a cultural experience. No credit for students in B.Mus, B.A. Honours Music or B.A. Music.
Elementary Materials of Music
An introduction to the rudiments of music and aural training. Successful completion of this course will fulfill the prerequisite for entry into MUSI 1700.
Foundations of Music Theory
An introduction to the organizational principles underlying tonal music including intervals, scales, rhythm, metre, chords, counterpoint, form, cadences, and harmonic progressions.
Tonal Music Literacy
A study of the harmonic, melodic, rhythmic and formal structures of music of the common-practice period, with emphasis on the development of analytical and written skills of diatonic music.
Applied Rhythmic Training I
A study of the rhythm of selected classical, popular, and world musics, with emphasis on applied performance, movement, and dictation.
Prerequisite(s): permission of the Discipline.
Lectures and workshops three hours a week.
Vocal Musicianship
A study of aural training and musicianship through group and individual singing of selected classical, popular, and world musics.
Precludes additional credit for MUSI 1710 (no longer offered).
Prerequisite(s): permission of the Discipline.
Lectures and workshops three hours a week.
Performance I
Individual vocal or instrumental instruction in classical, traditional or popular idioms, in addition to individual performances and group class instruction.
Prerequisite(s): audition and enrolment in the B.Mus. program; first-year standing or permission of the Discipline.
Performance II
Individual vocal or instrumental instruction in classical, traditional or popular idioms, in addition to individual performances and group class instruction.
Prerequisite(s): MUSI 1900 and enrolment in the B.Mus. program; first-year standing or permission of the Discipline.
Choral Ensemble I
Participation in a choral ensemble, by arrangement with the Supervisor of Performance and Practical Studies. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): first-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Choral Ensemble II
A continuation of MUSI 1912. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): first-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble I
Participation in an instrumental ensemble, by arrangement with the Supervisor of Performance and Practical Studies. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): first-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble II
A continuation of MUSI 1914. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): first-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Introduction to Jazz History
A survey of ragtime and jazz from their roots in pre-twentieth-century black music and white music to contemporary jazz idioms, including an examination of New Orleans jazz and Dixieland, swing, bebop, cool jazz, and free jazz.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Popular Musics before 1945
Selected aspects of the development of Anglo-American popular musics from their roots in the nineteenth century until the shifts and tensions which led to the advent of rock-and-roll and soul in the 1950s. Genres to be examined include blues, country, the sentimental ballad, Broadway music.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Popular Musics after 1945
Selected aspects of the development of Anglo-American and world popular musics from the advent of rock `n' roll and soul to the present. Early rock `n' roll, British rhythm `n' blues, Motown, West Coast music, punk, heavy metal, new wave, disco and country.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Music of the World's Peoples
A survey of musical traditions from various regions of the world, with an emphasis on the sociocultural contexts in which those musics are created and performed.
Precludes additional credit for MUSI 2300.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Music of Asia
A comparative and analytical study of music in Asia, including India, China, Korea, Indonesia, Japan, and the Arabic world, through an examination of the music, musical instruments and theoretical systems.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Music in an Age of Spectacle, Commerce, and Colonization
The Baroque (1600-1750) was simultaneously shaped by absolutist regimes, competing religions, and an emerging public sphere. Music and culture from Monteverdi to Bach and Handel are investigated in the contexts of power, (geo)politics, religion, aesthetics, gender, socio-economics, dissemination, genre, and compositional practices.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Music in an Age of Order, Invention, and Revolution
Peace and revolution, faith and secularism, noble privilege and bourgeois commerce: fundamental contradictions underlying the creative work of Mozart, Haydn, and Beethoven. This course studies their compositions—operas, sacred works, symphonies, chamber music—within the political, social and cultural institutions of their times (ca. 1730-1815).
Prerequisite(s): second-year standing.
Lectures three hours a week.
Orchestration and Instrumentation
Introduction to the fundamentals of effective and professional arranging. All aspects of the various instruments of the orchestra and matters having to do with the practicalities of orchestration for both small and large ensembles, and accepted professional standards of score presentation.
Lecture three hours a week.
Composition I
Introduction to theories and technicalities involved in original creative writing through the preparation of individual assignments; based in the practice of recent music in the Western Classical tradition while allowing for the music of other Western styles and traditions to be addressed.
Prerequisite(s): MUSI 1701 and MUSI 1711, or permission of the instructor. MUSI 2601 is recommended.
Lectures and workshops three hours a week.
Choral Conducting
Introduction to the special stylistic features of choral music from the Renaissance to the present as well as to a variety of practical techniques (vocal production, gesture, conducting patterns, diction, etc.).
Prerequisite(s): second-year standing in the B.Mus. program or permission of the instructor.
Lectures three hours a week.
Digital Music Literacy
Introduction to music theories and approaches with a focus on knowledge of digital music practices. This course embraces a variety of musical styles and traditions, and introduces students to Digital Audio Workstations, sound synthesis, analytical techniques of sound, and related concepts.
Precludes additional credit for MUSI 2609 (no longer offered).
Prerequisite(s): MUSI 1700 and enrolment in the BMus or BA Music program, or permission of the instructor.
Lectures three hours a week.
Fundamentals of Electronic Music Production
Theory and practice of electronic music creation, focusing on audio editing, synthesis, sampling, beat-making, signal processing, and sound design, using a variety of professional-grade software packages.
Precludes additional credit for MUSI 2603 (no longer offered).
Prerequisite(s): MUSI 2607 and enrolment in the BMus or BA Music program, or permission of the instructor.
Lectures three hours a week, plus individual studio time.
Western Art Music Theory
A continuation of the study of the harmonic, melodic, rhythmic and formal structures of music of the common-practice period and early twentieth century, with emphasis on chromaticism and the development of analytical and written skills.
Popular Music Practice
A study of the rhythmic, melodic, harmonic and formal structures of popular musics.
Practical Keyboard Skills
A practical study of rhythm, harmony and melody on the keyboard, with an emphasis on vocal and instrumental accompaniment and the development of improvisation skills in a variety of styles.
Prerequisite(s): MUSI 1701 or permission of the instructor.
Labs three hours a week.
Aural Training
A continuation of the study of ear training, sight singing, and basic keyboard skills in relation to classical and popular musics, with emphasis on melodic, harmonic, and formal structures.
Prerequisite(s): MUSI 1710, MUSI 1720, or permission of the instructor.
Lectures three hours a week.
Applied Rhythmic Training II
A continuation of the study of the rhythm of common-practice and world musics, with emphasis on applied performance, movement, and dictation.
Prerequisite(s): MUSI 1700, MUSI 1711.
Lectures and workshops three hours per week.
Performance III
A continuation of MUSI 1901.
Prerequisite(s): second-year standing in the B.Mus. program and MUSI 1901 with a C+ or higher, or permission of the Discipline.
Performance IV
A continuation of MUSI 2900.
Prerequisite(s): second-year standing in the B.Mus. program and MUSI 2900 with a B- or higher, or permission of the Discipline.
Choral Ensemble III
A continuation of MUSI 1913. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): second-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Choral Ensemble IV
A continuation of MUSI 2912. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): second-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble III
A continuation of MUSI 1915. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): second-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week through either the fall or winter term, and participation in concerts.
Instrumental Ensemble IV
A continuation of MUSI 2914. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): second-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Careers in Music
An introduction to building a career in music and music-adjacent disciplines. Topics include finances; issues in freelance work and private teaching; overview of recording arts; collaboration with other disciplines; and graduate school and other specialized study. Culminates in the creation of an individualized professional portfolio.
Lectures and workshops three hours per week.
Music in Canada
Through an examination of many genres and styles including classical, folk, popular, and jazz, this course explores the ways that music participates in shaping complex and often conflicting ideas about nation, place, and identity in Canada.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Popular Musics of Canada
A survey of popular musics in Canada from early colonial times to the present. The course will consider a wide range of musical styles and genres, along with related cultural and historical issues.
Prerequisite(s): second-year standing.
Lectures three hours a week.
Popular Musics of the World
Through a series of case studies, this course examines the impacts of globalization, colonialism and media in music-making and consumption of popular music practices found around the world.
Lectures three hours a week.
Classical Indian Music
An introduction to the history and theory of classical Indian music including ragas, instruments, rhythm and improvisation.
Prerequisite(s): second-year standing, or permission of the instructor.
Lectures three hours a week.
Musics of the Middle East and North Africa
An examination of various musics, devotional traditions, and shifting cultural and art movements in the region, resulting from processes of globalization, political change, and technological innovation. Course sessions will include close and critical discussion of selected texts, audio-visual examples, and ethnomusicological documentary films.
Seminars three hours a week.
Special Topics
Courses focusing on one selected aspect of music, in the area of musicology, theory or composition. The course offerings change from year to year.
Lectures and seminars three hours a week.
Special Topics
Courses focusing on one selected aspect of music, in the area of musicology, theory or composition. The course offerings change from year to year.
Lectures and seminars three hours a week.
Specialized Studies
Courses designed for Music Honours students who have acquired an extensive background through courses in theory, musicology, or composition. Course offerings change from year to year.
Individual instruction.
Specialized Studies in Performance
Courses designed for Music Honours students who have acquired an extensive background through performance. Course offerings change from year to year.
Individual instruction.
Music and Religion
An examination of the integral role music plays in religion and sacred ritual in different world cultures and religions. Through various case studies, the course broadly considers how sacred soundscapes shape people’s worldviews, identities, and experiences within and outside of their communities.
Music and Gender I
The role of gender in the theory and practice of music in western and non-western cultures.
Lectures three hours a week.
Introduction to Music Therapy
Literature, practice and theory of music therapy. The use of music (improvisation, the voice, and reception) with various populations, including children and adults with special needs, people in long term care, people with neurological disorders, and in palliative care.
Lectures three hours a week.
A History of Opera before 1800
A survey of the development of opera from the beginnings to about 1800. The major monuments of Italian, French, German and English opera, by such composers as Monteverdi, Cavalli, Scarlatti, Purcell, Lully, Gluck, Rameau, Mozart and Haydn.
Lectures three hours a week.
A History of Opera from 1800 to 1945
A study of romantic and contemporary opera through an examination of selected works from Weber's Der Freischütz to Britten's Peter Grimes, including an investigation of national styles from Wagnerian music drama and Italian verismo to Russian realism and German expressionism.
Lectures three hours a week.
Film Music
The use of music in film, from the silent era to the present day, studying the techniques, styles and theory of film music through the examination of selected scenes.
Prerequisite(s): second-year standing.
Lectures three hours a week, screening two hours a week.
Music Industries
An introduction to the structure and history of the music industries.
Musical Theatre
A survey of the styles, works, and artists of the musical theatre genre as well as the artistic elements that comprise musical theatre.
Lectures three hours a week.
Instrumental Music: Music for Orchestra
Origins and development of orchestral music from its beginnings as an independent form in the 18th century to the present. Major symphonies and symphonic poems by composers like Haydn, Beethoven, Liszt, Brahms, Strauss, and Shostakovich. Brief examination of concerto and ballet music.
Lectures three hours a week.
Instrumental Music: Chamber Music
History of chamber music and the cultural contexts within which it rose to prominence in Europe and North America in the 18th, 19th and 20th centuries. Genres by representative composers including the sonata, duos, trios, quartets, quintets, sextets, divertimenti, and works for small chamber orchestra.
Lectures three hours a week.
Music in an Age of Passion, Imagination, and Iconoclasm
This course examines European art music of the nineteenth century, a revolutionary period of socio-political change when inspiration, subjectivity, radical idealism, expressive intensity, cultural nationalism, and the primacy of the individual creative voice were held up as primary aesthetic ideals.
Seminars three hours a week.
Music in an Age of Tumult, Innovation, and Pluralism
A study of western art music of the 20th century. Musical works, compositional techniques and performance practices are examined in the context of musical innovation, social change, political upheaval, and stylistic pluralism in a rapidly changing “modern” world.
Seminars three hours a week.
Composition II
Designed to enable students to develop abilities in the writing of original music. The study and appreciation of modern and contemporary styles and techniques are encouraged.
Precludes additional credit for MUSI 3600 (no longer offered).
Prerequisite(s): MUSI 2601, MUSI 2602, and MUSI 2700, or permission of the instructor.
Lectures, workshops, and individual consultations three hours a week.
Computer Music Techniques
An introduction to the techniques of sound synthesis primarily through practical experience at the digital synthesizer and computer. The basics of machine operations, software and computer applications to composition and synthesis. Enrolment is limited.
Prerequisite(s): second-year standing, MUSI 2608 and enrolment in the BMus or BA Music program, or permission of the instructor.
Lectures three hours a week, plus individual studio time.
Computer Music Projects
Examination of the various applications of digital equipment through the realization of original projects. Students may focus on studio composition, software development or analytic research. Appropriate compositional techniques and problem solving strategies are also discussed. Enrolment is limited.
Prerequisite(s): second-year standing, and either MUSI 2603 (no longer offered) or MUSI 2608, or permission of the instructor.
Lectures three hours a week, plus individual studio time.
Instrumental Conducting
Introduction to the practice of conducting Instrumental music from the Classical era to the present as well as to a variety of practical techniques (rehearsal techniques, gesture, conducting patterns, score study, etc.).
Prerequisite(s): second-year standing in the B.Mus. program or permission of the instructor.
Live Sound
Theoretical, practical and technical requirements of audio production in live settings are explored through lectures, demonstrations and workshops. Students develop skills in critical listening, pre-production planning, microphone selection and placement, signal routing, audio processing, monitoring and mixing for live event venues. Prior experience not required.
Lectures and workshops three hours a week.
Seminar in Theory and Analysis
Selected topic in music theory. Topics will change yearly and may include: methods of music analysis, analysis of selected works, styles and structures of common practice or post common practice period, music, modal, tonal, or post-tonal counterpoint, history of music theory.
Prerequisite(s): MUSI 2700 or permission of the instructor.
Seminars three hours a week.
Jazz Styles and Structures
Techniques of arranging and composition for small and large ensembles will be studied through the examination of selected works drawn from the jazz repertoire. Works will be selected for stylistic and theoretical analysis, for exercises in aural recognition, and for arranging purposes.
Precludes additional credit for MUSI 4203 (taken in 1994-95) or MUSI 4204 (taken in 1995-96).
Prerequisite(s): MUSI 2701 or permission of the instructor.
Workshops three hours a week.
Introduction to Physics and Psychoacoustics of Music
Basic topics in physics and psychoacoustics, with an emphasis on those concepts that are most useful for music performance, analysis, composition, and musicology.
Lectures three hours a week.
Improvisation in Theory and Practice
Selected forms of improvisation from diverse musical and cultural traditions. In addition to weekly seminar meetings, the class will engage in experiential forms of learning by actively improvising in a weekly performance-oriented seminar.
Prerequisite(s): third-year standing.
Discussion and performance seminars three hours a week.
Global Music Theories
A continuation of the study of aural skills, theory and analysis that focuses on global traditions in musicianship and musical practices.
Prerequisite(s): MUSI 1700, MUSI 2710 and MUSI 2711, or permission of the instructor.
Lectures and workshops three hours per week.
Performance V
A continuation of MUSI 2901.
Prerequisite(s): third-year standing in B. Mus. and MUSI 2901 with a B- or higher, or permission of the Discipline.
Performance VI
A continuation of MUSI 3900.
Prerequisite(s): third-year standing in the B.Mus. program and MUSI 3900 with a B- or higher, or permission of the Discipline.
Choral Ensemble V
A continuation of MUSI 2913. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): third-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Choral Ensemble VI
A continuation of MUSI 3912. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): third-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble V
A continuation of MUSI 2915. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): third-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble VI
A continuation of MUSI 3914. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): third-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Performance VII
This is an optional performance course for B.Mus. students with high academic standing.
Precludes additional credit for MUSI 4900, MUSI 4901, MUSI 4907.
Prerequisite(s): fourth-year standing in B.Mus., MUSI 3901, A- or higher average in second- and third-year MUSI performance courses, and permission of the Music performance supervisor.
Individual instruction.
Performance VIII
This is an optional performance course for B.Mus. students with high academic standing.
Precludes additional credit for MUSI 4002, MUSI 4003, MUSI 4900 (no longer offered), MUSI 4901, MUSI 4907.
Prerequisite(s): fourth-year standing in B.Mus. standing, MUSI 4000 with A- or higher, and permission of the Music performance supervisor.
Individual instruction.
Graduating Demo Recording
A graduation recording of substantial duration arranged in consultation with the discipline. A proposal must be submitted one week before the last day for course changes. All recording costs must be borne by the student.
Precludes additional credit for MUSI 4001, MUSI 4003, MUSI 4900 (no longer offered), MUSI 4901 (no longer offered), MUSI 4907.
Prerequisite(s): fourth-year standing in B.Mus., MUSI 4000 with a grade of A- or higher, and permission of both the relevant associate music instructor and the music performance supervisor.
Individual instruction.
Graduating Recital
Public recital arranged in consultation with the Supervisor of Performance and Practical Studies. An outline of the program must be submitted one week before the last day for course changes.
Precludes additional credit for MUSI 4001, MUSI 4002, MUSI 4900, MUSI 4901, MUSI 4907.
Prerequisite(s): fourth-year standing in B.Mus., MUSI 4000 with A- or higher, and permission of both the relevant associate music instructor and the Music performance supervisor.
Individual instruction.
Issues in Jazz Studies
An examination of key issues in the study of jazz including history/historiography, gender, genre, race, politics, identity and performance.
Issues in the Study of Popular Music
An introduction to current issues in the study of popular music. The course will be organized around a series of case studies.
Seminars three hours a week.
The Composer in Context
Examination of the life and music of a selected composer, and the historical, social, cultural, and political factors that shaped the context within which they worked. Focus on history, biography, musical style and analysis.
Lectures and seminars three hours a week.
Ethnomusicology in Theory and Practice
In this course students learn and apply research methods common to ethnomusicological research, developing an individual ethnographic project that draws on critical contemporary theories in ethnomusicology.
Prerequisite(s): fourth-year standing, or permission of the instructor.
Seminars three hours a week.
Music, Migration and Diaspora in Canada
Critical analyses of diversity and multiculturalism narratives in Canada and the ways that settler-colonialism influenced and continues to inform music creation and expression. Various case studies examine the diversity of musics found in Canada and the ways that music facilitates belonging and/or exclusion to community.
Prerequisite(s): fourth-year standing or permission of the instructor.
Also offered at the graduate level, with different requirements, as MUSI 5015, for which additional credit is precluded.
Seminars three hours a week.
First Peoples Music in Canada
This course examines the role of Indigenous music and musicians in various contemporary issues and priorities for First Peoples in Canada, including political activism, language and cultural maintenance and revitalization, environmental justice and the land, reconciliation and decolonization.
Also offered at the graduate level, with different requirements, as MUSI 5016, for which additional credit is precluded.
Seminars three hours a week.
Study of Musics in Africa
This course explores musics in Africa, engaging with issues of colonialism, ownership and copyright, politics and protest, social change, and global relationships.
Lectures and seminars three hours a week.
Special Topics
Courses focusing on one selected aspect of music, in the area of either musicology, theory or composition. The course offerings change from year to year.
Lectures and seminars three hours a week.
Special Topics
Courses focusing on one selected aspect of music, in the area of either musicology, theory or composition. Course offerings change from year to year.
Lectures and seminars three hours a week.
Specialized Studies
Courses designed for Music Honours students who have acquired an extensive background through courses in theory, musicology, or composition. Course offerings change from year to year.
Individual instruction.
Specialized Studies in Performance
Courses designed for Music Honours students who have acquired an extensive background through performance. Course offerings change from year to year.
Individual instruction.
Specialized Studies
A course designed for Music Honours students who have acquired an extensive background through courses in theory, musicology or composition. Course offerings change from year to year.
Music and Globalization
Examining music’s role in the multifaceted and complex processes of globalization. Drawing on case studies of “world musics”, this course explores how sound and music negotiate histories of post/colonialism, cultural and economic imperialism, and constructions of sameness and difference in “world music” contexts.
Also offered at the graduate level, with different requirements, as MUSI 5017, for which additional credit is precluded.
Seminars three hours a week.
Music and Wellbeing in a Global Context
An examination of the ways in which music contributes to mental, social and physical wellbeing throughout the world, drawing from the fields of neuroscience, medical ethnomusicology, community music and cross-cultural studies.
Seminar three hours a week.
Music in an Age of Power, Plague, and Courtly Love
The music of the “dark ages” is illuminated in the context of politics, spectacle, devotion, celebration, compositional process, manuscript culture, dissemination, musical notation, plague, and courtly love. “Medievalism” is examined as an aesthetic of the era (ca. 400-1400) and as reinterpreted in our modern world.
Seminar three hours a week.
Music in an Age of Devotion, Seduction, and Rebirth
This course brings to life the Renaissance (1400-1600), when music played a vital role in lavish courts, grand cathedrals, and vibrant cities. Madrigals, masses, and motets are examined in the context of politics, religion, gender, manuscript and print culture, rhetoric, art, and architecture.
Seminar three hours a week.
Composition III
A continuation of MUSI 3602, focusing on the development of creative individual approaches to music composition.
Precludes additional credit for MUSI 3600 (no longer offered).
Prerequisite(s): MUSI 3602, or permission of the instructor.
Lectures, workshops, and individual consultations three hours a week.
Advanced Seminar in Theory and Analysis
A study of a selected topic in music theory. Topics will change yearly and may include: methods of music analysis; analysis of selected works; styles and structures of common practice or post common practice period music; modal, tonal, or post-tonal counterpoint; history of music theory.
Introduction to Jazz Arranging
The art of arranging for small and large jazz ensembles is introduced through analysis of recordings by artists such as Duke Ellington, Fletcher Henderson, Count Basie, Rob McConnell, and Maria Schneider. Topics may include 2-, 3-, and 4-voice writing in a jazz idiom.
Topics in Music Perception and Cognition
Selected advanced topics in the perception and cognition of music. Where appropriate, emphasis will be placed upon areas of overlap between psychological research and issues in aesthetics and cultural theory.
Seminars three hours a week.
Tonal Counterpoint
This course deals with the development of writing skills and knowledge of counterpoint as manifest in the Baroque era. Topics may include invention, canon, fugue, dance forms, the compositional language of J. S. Bach, and contrapuntal techniques in the late 18th century and beyond.
Lectures and seminars three hours a week.
Post-Tonal Theory and Analysis
Fundamentals of post-tonal music theory and analysis. Neo-tonal, atonal, twelve-tone and third-stream jazz. Students will develop the critical skills to understand these theoretical tools and be conversant with some of the aesthetic precepts associated with them.
Lectures and seminars three hours a week.
Practicum in Music
Practical experience in music-specific projects such as recording studios, librarianship, research, multimedia, etc. at local institutions. A maximum of one credit of practicum may be offered in fulfilment of Music requirements.
Prerequisite(s): Honours Music registration with third- or fourth-year standing and a B+ or better average in Music courses; and permission of the Practica Supervisor.
Practicum in Music
Practical experience in music-specific projects such as recording studios, librarianship, research, multimedia, etc. at local institutions. A maximum of one credit of practicum may be offered in fulfilment of Music requirements.
Prerequisite(s): Honours Music registration with third- or fourth-year standing and a B + or better average in Music courses; and permission of the Practica Supervisor.
Honours Portfolio in Composition
The course requires the composition of an original work of substantial proportions, with an accompanying analytical paper. Application to the Discipline for permission to register must be received by September 1.
Precludes additional credit for MUSI 4600.
Prerequisite(s): fourth-year standing, MUSI 3600 and permission of the Discipline.
Honours Essay in Musicology
An Honours research essay of approximately 50 pages. A written outline of the project must be submitted to the Honours committee changes by the first day of classes.
Prerequisite(s): fourth-year standing, A- or higher average, and permission of the Discipline.
Portfolio in New Media
The course requires the creation of an original work (or works) of substantial proportions using applications in the electronic studios. A high level of independence and originality will be required. Requests to the Discipline for permission to register must be received by September 1.
Prerequisite(s): permission of the instructor.
Choral Ensemble VII
A continuation of MUSI 3913. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): fourth-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Choral Ensemble VIII
A continuation of MUSI 4912. Registration, but not participation, is restricted to students in the B. Mus. program. Graded Sat/Uns.
Prerequisite(s): fourth-year standing in the B.Mus. program and permission of the Choral Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble VII
A continuation of MUSI 3915. Registration, but not participation, is restricted to students in the B.Mus. program Graded Sat/Uns.
Prerequisite(s): fourth-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term and participation in concerts.
Instrumental Ensemble VIII
A continuation of MUSI 4914. Registration, but not participation, is restricted to students in the B.Mus. program. Graded Sat/Uns.
Prerequisite(s): fourth-year standing in the B.Mus. program and permission of the Ensemble Director.
Ensemble work approximately two hours a week throughout either the fall or winter term participation in concerts.
Note: Not all courses listed are offered in a given year. For an up-to-date statement of course offerings for the current session and to determine the term of offering, consult the class schedule at central.carleton.ca.
Summer session: some of the courses listed in this Calendar are offered during the summer. Hours and scheduling for summer session courses will differ significantly from those reported in the fall/winter Calendar. To determine the scheduling and hours for summer session classes, consult the class schedule at central.carleton.ca