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Chamber music, collaborative piano, or small ensemble experience for qualified instrumentalists and singers. Topics may vary. Course includes weekly coaching and a minimum of one evaluation concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in their third year they will be registered in MUSC 300).
NOTE Collaborative Piano is strongly recommended for all piano and organ majors in the BMUS program.
LEARNING HOURS VARY.
The history of Western art music from 1750 to the present. The course focuses on musical styles, genres, and composers, as well as historical and social contextual considerations.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
NOTE Also offered at the Bader International Studies Centre, Herstmonceux. Learning Hours may vary.
An introductory examination of the fundamental place of music in human identity and society as well as foundations in the critical listening, research, and writing skills used in music.
An introduction to musical notation, ear training, theory and analysis.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
An exploration of the theoretical and practical applications of the rudiments of tonal music. Students gain fluency and competency in basic musicianship skills by completing modules in areas such as harmonization, ear-training, composition, arranging, music analysis, writing concert reviews, group performances and singing in the class choir.
Mid-size ensemble experience for qualified performers. Topics vary. Course includes weekly rehearsals of a wider variety of repertoire, and a minimum of one concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study. (i.e. if a student is in third year they will be registered in MUSC 312).
Hands-on, blended approach to the theory and practice of teaching and engaging with children through music. Students will be introduced to concepts through educational activities and will learn to identify and describe musical characteristics heard in a variety of repertoire as well as perform short pieces appropriate for novice performers.
Large ensemble for qualified instrumentalists and singers. Topics vary. Course includes weekly rehearsals of a wide variety of repertoire, and a minimum of one concert per term, for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 315).
A first year study of the student's applied subject (instrument or voice) in the performance concentration.
NOTE Students are invited to audition for this course based on exceptional performance ability in their BMUS entrance audition. Course auditions take place in early September and successful students are registered in MUSC 120 and MUSC 125 by the DAN School. An invitation to audition does not guarantee acceptance into this course. All decisions are final.
The first year of study of the student's chief practical subject (instrument or voice).
Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as a beginner level of study, musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as a beginner level of study, musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 122 instrument/voice, or performance genre. Changes cannot be guaranteed.
Private instrumental or vocal instruction for non-MUSC Specialization/Non-MUTH students. Auditions required.
NOTE Please contact the DAN School for information about the audition requirements.
NOTE In addition to the regular tuition fee, students are charged an additional fee for private music lessons: estimated cost $1,600.
NOTE Also offered the Bader International Study Centre. Learning Hours may vary.
Students will perform in a public recital in accordance with the guidelines established by the DAN School.
Study of the full spectrum of sound, focusing on listening and identifying frequencies, balance, timbres, and textures with increasing precision. Students will also learn active listening approaches situating themselves as intentional listeners with obligations to place and people.
Training in sight reading and dictation.
NOTE Students with RCM Grade 8 Theory or equivalent may request permission from the School to take the course.
A fundamental keyboard skills course designed for non-keyboard majors.
NOTE Course content will support and coordinate with the traditional diatonic harmonic material covered in MUSC 191 but will also include other styles. Successful completion of the course will require a working fluency at the keyboard in sight-reading, melodic and harmonic analysis as well as transcription. Activities will include harmonization, transposition and improvisation.
NOTE Students require previous rudiments and piano experience to take this course.
This course teaches students the basics of instrumental music composition in the Western Art Music tradition with a strong emphasis on creativity and class participation.
NOTE No prior experience with composition is required, but students must demonstrate a thorough understanding of the rudiments of music prior to enrolment.
This course teaches students the basics of vocal composition in the Western Art Music tradition with a strong emphasis on creativity and class participation.
NOTE No prior experience with composition is required, but students must demonstrate a thorough understanding of the rudiments of music prior to enrollment.
Basics of digital audio recording, with a focus on free/open-source software tools. Through assignments oriented towards mastering basics necessary for podcast or music recording/mixing, you will gain experience with digital audio workstation software for multitrack production, and tools such as EQ, compression, and limiting.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
A hands-on exploration of how sound is mediated and amplified for live events, with emphasis on sound design for theatre and sound reinforcement for live music. Students will be introduced to the equipment used in live audio production including microphones, mixers, amplifiers and loudspeakers.
Practical application of contemporary tools and issues in beat production, including Ableton Live, Logic Pro, Reaper, and MIDI instruments and control surfaces for live and in-studio performance and recording. Concepts examined include time, polyrhythms, remixing, building sonic landscapes, licensing, and the history of sampling and on-stage/in-studio practice in beatmaking and DJ style mixing.
A survey of important trends in 20th century Western popular music. Topics include genres, individual artists and groups, record labels and stylistic trends, and sociological issues.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
NOTE Also offered at the Bader International Studies Centre, Herstmonceux. Learning Hours may vary.
Diatonic voice-leading and harmony, principles of form and small structures (binary, ternary) through part-writing and analysis.
NOTE Students having received 80% or higher on a conservatory advanced rudiments exam may enrol in the course with permission of the School.
Diatonic voice-leading and harmony, principles of form, and small structures through part-writing, analysis, and composition.
NOTE Students having received 80% or higher on a conservatory advanced rudiments exam may enrol in the course with permission of the School.
A continuation of diatonic voice-leading, harmony, and principles of form through part-writing, analysis, and composition.
Chamber music, collaborative piano, or small ensemble experience for qualified Instrumentalists and singers. Topics vary. Course includes weekly coachings and a minimum of one evaluation concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches heir current level of study (i.e., if a student is in third year they will be registered in MUSC 300).
NOTE Collaborative Piano is strongly recommended for all piano and organ majors in the BMUS program.
LEARNING HOURS VARY.
An examination of the styles, genres, composers, and contexts of Western art music between ca. 1000 and 1800 CE. Exploring the historical and historiographical trajectory of Western music in global and colonial context, we will continue to build skills to critically analyze musical works and connect their production with social and cultural contexts.
Students will study the styles and meanings of Western art music from the Romantic period to that of the 21st Century. In addition to understanding this music's beauty and power, we will also examine the ways that narratives of Western art music from this period are imbricated with racism, sexism, ableism, and classism.
Mid-size ensemble experience for qualified performers. Topics vary. Course includes weekly rehearsals of a wider variety of repertoire, and a minimum of one concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 312).
Large ensemble for qualified instrumentalists and singers. Topics vary. Course includes weekly rehearsals of a wide variety of repertoire, and a minimum of one concert per term, for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 315).
Continuation of MUSC 120.
NOTE BMUS students who receive a recommendation from their area coordinators and jury panel and a minimum grade of an A- in the jury examination component of MUSC 121 may apply to audition for this course. Auditions take place in early September and successful students are then registered in MUSC 220 and MUSC 225 by the DAN School. An audition does not guarantee acceptance into this course. All decisions are final.
Continuation of MUSC 121.
Continuation of MUSC 123. Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 122/MUSC 123 instrument/voice, or performance genre. Changes cannot be guaranteed.
Continuation of MUSC 222. Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 122/MUSC 123 instrument/voice, or performance genre. Changes cannot be guaranteed.
Continuation of MUSC 124.
NOTE In addition to the regular tuition fee, students are charged an additional fee for private music lessons: estimated cost $1,600.
Students will perform in a public recital in accordance with guidelines established by the DAN School.
A continuation of MUSC 127/3.0.
A comprehensive keyboard musicianship course in a laboratory format specifically designed for keyboard majors and others receiving advanced placement. Course content will include practical instrument-specific activities for pianists.
NOTE Course content will support and coordinate with the traditional diatonic harmonic material covered in MUSC 191 but will also include other styles. Successful completion of the course will require a working fluency at the keyboard in sight-reading, melodic and harmonic analysis as well as transcription. Activities will include harmonization, transposition and improvisation.
An examination of the music of video games, focusing on sociological perspectives of gameplay. Content will include game history, theories of play, immersion and interactivity, interactions with social media and other online communities, and related interdisciplinary topics such as trope, intertextuality, and narrative.
From the Renaissance to the present, the course will explore the scandalous affairs, gruesome tales, and secret personal lives of some of history's most beloved "aristocratic" classical composers and musicians, connecting them to historical and political circumstances and seeing their impact on the music we cherish today.
An exploration of a specific topic or skillset in (ethno)musicology, music and society, and/or music creation.
A credit/non-credit practicum for 48 hours of extra-curricular work in music related fields, including School productions.
An introduction to the skills required to improvise in the jazz style. Students will develop their ability to improvise by analysing, listening and performing repertoire from the Swing and Bebop eras.
Basic techniques of electroacoustic music composition, including recording, sound editing, synthesis, MIDI, sequencers and synthesizer voicing. Emphasis is also placed on the history and aesthetics of electroacoustic music through listening, discussion and analysis.
Fundamental theoretical principles of digital recording. Students will gain an understanding of the rudiments of the math behind the representation of sound in a digital format, how computers handle audio including concepts such as bits, bit depths, sampling rates, quantization, MP3 and other compression codecs, dither, resolution, and analog to digital/digital to analog converters.
Practical aspects of the physics of musical instruments, architectural acoustics, physiology of the ear and of the voice, tuning and temperament, psychoacoustics, and analog and digital technologies for recording and synthesis.
An introduction to basic principles of choral and instrumental conducting including baton and rehearsal techniques.
NOTE Rental of instruments may be required.
This course explores the emergence of hip hop as a musical and cultural phenomenon. We will examine the history of hip hop from the mid-eighties to the present, considering its aesthetic and political impact on North American culture.
An introduction to the historical, psychological, sociological, and philosophical foundations of music education in North America.
A laboratory course emphasizing weekly field-based observations and supervised practice teaching experiences in music within schools and/or community organizations in conjunction with music education theory.
Study of the principles of the musical voice. Topics include vocal care and development, singing techniques, diction and score study. The selection of age-, ability-, and culturally appropriate repertoire and activities will also be examined.
NOTE Enrolment is limited to students in a MUSC or MUTH Plan. Some experience with reading music notation is recommended for students enrolling in this course.
Study of the principles of playing Woodwind Instruments through the performance of select instruments and examination of salient repertoire and pedagogical resources used to support beginner and intermediate students. Topics include handling and posture, playing techniques, ranges, fingerings, transpositions, maintenance and care.
NOTE Students will need to access their own instrument(s) and rental options will be made available on the first day of class if needed. Instrument Rental: estimated cost $60 - $100.
Group instruction in performing and teaching a selected World Music. Students will learn ways to introduce this music within an age-, ability-, and culturally-appropriate context to teaching.
Study of the principles of playing brass instruments through the performance of select instruments and examination of salient repertoire and pedagogical resources used to support beginner and intermediate students. Topics include handling and posture, playing techniques, ranges, fingerings, transpositions, maintenance and care.
NOTE Students will need to access their own instrument(s) and rental options will be made available on the first day of class if needed. Instrument Rental: estimated cost $60 - $100.
Study of the principles of orchestral stringed instruments through the performance of select instruments and examination of salient repertoire and pedagogical resources. Fundamental playing techniques will be emphasized including posture and handling, fingerings, bowings, tuning, and maintenance.
NOTE Students will need to access their own instrument(s) and rental options will be made available on the first day of class if needed. Instrument Rental: estimated cost $60 - $100.
A study, from feminist perspectives, of women's roles in music and relation to music in popular and classical genres of various historic and contemporary traditions. Critical examination of the construct of gender and identity in several musics is included.
Study of the principles of playing percussion instruments through performance of select instruments, and examination of salient repertoire and pedagogical resources. Students will also develop proficiency reading salient percussion notation and examine appropriate resources and activities for learning these instruments in a group setting.
Study of the principles of playing guitar through performance, and examination of salient repertoire and pedagogical resources. Topics include playing and accompaniment techniques, range, fingerings, handling, care and maintenance. Students will examine how guitar playing techniques can be transferred to ukelele and salient repertoire for teaching.
NOTE Student must provide their own instruments.
An introduction to the study of music in culture, based on world music traditions. The course focuses on a selection of Native North American, African, European, Eastern and Middle Eastern, as well as other musical contexts.
NOTE Also offered online, consult Arts and Science Online (Learning Hours may vary).
Tonal and chromatic voice-leading and harmony, phrase structure, bipartite, tripartite, and composite formal structures, through part-writing and analysis.
Chromatic voice-leading and harmony, large-scale and expanded formal structures, including sonata, rondo, and expanded 19th-century forms, through part-writing and analysis.
Chamber music , collaborative piano, or small ensemble experience for qualified Instrumentalist and singers. Topics vary. Course includes weekly coachings and a minimum of one evaluation concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 300).
NOTE Collaborative Piano is strongly recommended for all piano and organ majors in the BMUS program.
LEARNING HOURS VARY.
A critical examination of musics and their roles across societies, including the ways music and performance practices illuminate or challenge pressing issues in our world such as gender, race, class, ability, community, or nature. Students will deepen critical listening, research, and writing skills.
Mid-size ensemble experience for qualified performers. Topics vary. Course includes weekly rehearsals of a wider variety of repertoire, and a minimum of one concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 312).
Large ensemble for qualified instrumentalists and singers. Topics vary. Course includes weekly rehearsals of a wide variety of repertoire, and a minimum of one concert per term, for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 315).
Continuation of MUSC 220.
NOTE BMUS students who receive a recommendation from their area coordinators and jury panel and a minimum grade of A- in the jury examination component of MUSC 221 may apply to audition for this course. Auditions take place in early September and successful students are then registered in MUSC 320 and MUSC 325 by the DAN School. An audition does not guarantee acceptance into this course. All decisions are final.
Continuation of MUSC 221 at an advanced level.
Continuation of MUSC 223. Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 222/MUSC 223 instrument/voice, or performance genre. Changes cannot be guaranteed.
Continuation of MUSC 322. Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 222/MUSC 223 instrument/voice, or performance genre. Changes cannot be guaranteed.
Continuation of MUSC 224.
NOTE In addition to the regular tuition fee, students are charged an additional fee for private music lessons: estimated cost $1,600.
Students will perform in a public recital in accordance with guidelines established by the DAN School.
Introduction to phonetics, the International Phonetic Alphabet and voice physiology together with a study of the rules of pronunciation in English, Italian, French and German. Emphasis on active skills, singing and discussion. Highly recommended for all voice students and students planning graduate study in voice, choral conducting or collaborative piano.
The practical study of teaching techniques of standard musical repertoire (solo, chamber, orchestral, operatic, etc.) of a particular instrument. The course requires student performances of representative musical works. The instruments studied will rotate from year to year as resources permit.
NOTE Students must have previous experience on the instrument/vocal area listed in the topic ID. Contact the School for more information.
The practical study of teaching techniques of standard musical repertoire (solo, chamber, orchestral, operatic, etc.) of a particular instrument. The course requires student performances of representative musical works. The focus of study will rotate from year to year as resources permit.
NOTE Students must have previous experience on the instrument/vocal area listed in the topic ID. Contact the School for more information.
An examination of the literature, instructional methods, resources, and planning structures for teaching music to elementary students.
This course examines formal, informal and non-formal structures that support music teaching and learning in the community across the lifespan.
An introduction to the methods, materials, and curriculum design suitable for teaching music to senior high school students.
A study of advanced guitar technique and pedagogy including scales and arpeggios, jazz chord voicings, alternate tunings, practice strategies and arrangement/composition. Technical goals will be tailored to individual levels. A range of styles will be explored including Classical, Flamenco, Fingerstyle, Folk, Blues, Jazz, Salsa, and Afro-Cuban.
Guidance in the development of the student as a composer for instruments and voice.
NOTE Students must submit a portfolio of compositions to the School of Music Office by the last day of classes in the Winter Term. Admission is determined through evaluation of portfolios by a Faculty jury. Submission of a portfolio does not guarantee admission.
Guidance in the development of the student as a composer of electroacoustic music.
Guidance in the development of the student as a composer for instruments and voice.
NOTE Students must submit a portfolio of compositions to the Music Office by the last day of classes in the Winter Term. Admission is determined through evaluation of portfolios by a Faculty jury. Submission of a portfolio does not guarantee admission.
Guidance in the development of the student as a composer of electroacoustic music.
Notation, symbols and format of popular music, jazz and music theatre. Scoring and arranging for small jazz groups, studio bands, rock bands, and commercial orchestra.
Study of advanced conducting techniques, score analysis and rehearsal procedures. Issues of style, interpretation and relationship between gesture and response will be examined through the preparation of selected repertoire. Students will explore rehearsal techniques and develop manual dexterity and baton technique.
An intensive study of a topic within historical musicology, ethnomusicology, or popular music(s).
An intensive survey of a topic within music. Topics vary by year.
NOTE This course is repeatable for credit under different topic titles.
A study of the lives and works of composers and musicians in Canada, in a diverse range of genres, as well as the development of institutions and infrastructure in the arts. This course will approach these topics through various lenses including nationalism, politics, pedagogy, and Settler/Indigenous interactions.
Introductory study of 20th- and 21st-century systems of musical organization through analysis and writing.
The study of music, technology, and digital media/multimedia and their interactions in contemporary contexts.
Study, through analysis, of contrapuntal procedures and styles, from the earliest use of counterpoint through to contemporary contrapuntal compositions.
Students can apply to undertake a practical internship in applied music, music education, or administration.
NOTE Students will be given a grade of Pass/Fail for work done.
The examination of individual instruments in the string, woodwind, brass and percussion sections. Course includes score analysis, transcription, arranging and orchestration. A recommended course for MUSC Specialization composition students.
This course provides foundational knowledge in MIDI Orchestration and Digital Audio Workstation software. Students demonstrate their understanding of the technology by creating compositions in a variety of genres and styles. The final project introduces students to writing music to support a short video.
Study, through rule-based writing, of 16th century modal counterpoint, from two-part species exercises to free counterpoint in Renaissance style.
Study, through composition, of the contrapuntal procedures of the 18th century, with an emphasis on J.S. Bach's two-part inventions and fugues.
Chamber music, collaborative piano, or small ensemble experience for qualified Instrumentalist and singers. Topics vary. Course includes weekly coachings and a minimum of one evaluation concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 300).
NOTE Collaborative Piano is strongly recommended for all piano and organ majors in the BMUS program.
LEARNING HOURS VARY.
Mid-size ensemble experience for qualified performers. Topics vary. Course includes weekly rehearsals of a wider variety of repertoire, and a minimum of one concert per term for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 312).
Large ensemble for qualified instrumentalists and singers. Topics vary. Course includes weekly rehearsals of a wide variety of repertoire, and a minimum of one concert per term, for all students. Credit attained only with regular attendance, active participation, and ample preparation.
NOTE Students will be registered into the course number that matches their current level of study (i.e., if a student is in third year they will be registered in MUSC 315).
Continuation of MUSC 320.
NOTE BMUS students who receive a recommendation from their area coordinators and jury panel and a minimum grade of A- in the jury examination component of MUSC 321 may apply to audition for this course. Auditions take place in early September and successful students are then registered in MUSC 420 and MUSC 425 by the DAN School. An audition does not guarantee acceptance into this course. All decisions are final.
Continuation of MUSC 321.
Continuation of MUSC 323. Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 322/MUSC 323 instrument/voice, or performance genre. Changes cannot be guaranteed.
Continuation of MUSC 422. Regular lessons in musical performance with a focus on a customized plan of study, in either small-group or individual instruction. Students may enter into this course from a variety of paths such as musical traditions outside the classical canon (including but not limited to popular music, jazz, or folk and global musics), improvisation studies, or instrumental doubling.
NOTE Please contact the Dan School if you plan to change your MUSC 322/MUSC 323 instrument/voice, or performance genre. Changes cannot be guaranteed.
Continuation of MUSC 324.
NOTE In addition to the regular tuition fee, students are charged an additional fee for private music lessons: estimated cost $1,600.
Students will perform in a public recital in accordance with guidelines established by the DAN School.
Advanced study and synthesis of educational theories and practices in music introduced in music education courses. Students are expected to engage in independent and cooperative study of agreed upon topics.
The concepts and principles of a reductive/linear approach to the analysis of music named after its first proponent, Heinrich Schenker. Both theoretical and practical applications are studied.
Intensive study of a particular style or method of analysis, usually of a specific musical genre.
Advanced study of an aspect of organization in 20th-century music through analysis of the repertoire and analytical readings.
A continuation of MUSC 351, MUSC 354.
NOTE In addition to the prerequisites, students must submit a portfolio of compositions to the Dan School Office by the last day of classes in the Winter Term. Admission is determined through evaluation of portfolios by a Faculty jury. Submission of a portfolio does not guarantee admission.
A continuation of MUSC 352, MUSC 355.
NOTE Students must submit in writing to the Dan School Office their request to apply for this course by the last day of classes in the Winter Term.
A continuation of MUSC 351, MUSC 354.
NOTE In addition to the prerequisites, students must submit a portfolio of compositions to the Dan School Office by the last day of classes in the Winter Term. Admission is determined through evaluation of portfolios by a Faculty jury. Submission of a portfolio does not guarantee admission.
A continuation of MUSC 352, MUSC 355.
NOTE Students must submit in writing to the Dan School Office their request to apply for this course by the last day of classes in the Winter Term.
Seminars offered by faculty related to their music education research/interests. Content varies year to year. See departmental brochure for further details.
NOTE This course is repeatable for credit under different topic titles.
This course analyzes hip hop as theories and systems of knowledge that can re-shape oppressive values, to think and to move toward freedom. By centering the sounds and technologies that artists use to create rap music, in conversation with the philosophies of radical Black traditions, we will explore complex resistance narratives that refuse to relegate Black popular cultures to commodified bodies and lyrics.
An intensive analysis of a particular topic within a specific area of music: ethnomusicology, musicology or theory/analysis. Details regarding specific topics will be available from Dan School of Drama and Music on an annual basis.
An intensive analysis of a particular topic within a specific area of music: ethnomusicology, musicology or theory/analysis. Details regarding specific topics will be available from Dan School of Drama and Music on an annual basis.
An intensive analysis of a particular topic within a specific area of music. Topics vary by year.
An intensive study of the development of a particular musical genre. Emphasis will be placed on the analysis of significant contributions to the genre and the place of the genre in the total cultural milieu of a given period. Content varies from year to year.
A detailed examination of the life, times and works of a particular composer. Content varies from year to year.
An intensive study of a specific music culture or theoretical approach to the study of music (broadly conceived).
In this course we explore gender, sexuality and performativity in Western popular music with an emphasis on musical technologies, musical consumption practices, and sonic and visual texts. A range of musical genres will be covered with a particular emphasis on rock, pop, country, rap, and R and B.
NOTE Not open to students who previously have taken Gender and Popular Music as a special topics course (MUSC 475, Special Topics in Music I).
In this course we explore both how we consume sound and music within a range of media (film, television, radio), and where we consume it (homes, elevators, gyms, grocery stores) in order to help educators think critically about the functions and effects of sound and music in everyday environments.
NOTE Not open to students who previously have taken Music and Mass Media as a special topics course (MUSC 470, Topics in Music Education I).
A substantive research project in music on a topic of the student's choice, completed under the supervision of a faculty member.
NOTE MUTH 380 is recommended as a prerequisite for bibliographic and qualitative projects. MUTH 387 is recommended for quantitative projects.
EQUIVALENCY MUSC 592.
Advanced supervised study in music research.
NOTE In addition to the prerequisites indicated, the School may require a grade of A- in any MUSC course relevant to the subject of study.
EQUIVALENCY MUSC 473, MUSC 474.