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Departmental Notes
Subject code for Drama: DRAM
Subject code for Entrepreneurship and Innovation: ENIN
Subject code for Media and Performance Production: MAPP
Subject code for Music: MUSC
Subject code for Music Theatre: MUTH
World Wide Web Address: http://sdm.queensu.ca/
Director of School: Craig Walker
School Office: Harrison-LeCaine Hall, Room 204
School Telephone: 613-533-2066
School E-Mail Address: info.danschool@queensu.ca
Chair of Undergraduate Studies: Stephanie Lind
Academic Advisor (DRAM, MUTH): Katherine Peter
Academic Advisor (MUSC, MUTH): Kim Gudlauski
Entrepreneurship, Innovation and Creativity Certificate: Sidneyeve Matrix
The Dan School of Drama and Music at Queen's University strives to earn its reputation as one of the world's preeminent centres for the study and creation of drama, music and music theatre. We offer a range of undergraduate, graduate, and community outreach programs, including both practice and theory, and both the traditional and the innovative. In principle, the Dan School embraces all the many disciplines that collaborate to realize the professional performing arts. While studies and research in drama and music have comprehensive representation within the Dan School, the intersection of these two disciplines is given particular focus in the area of music theatre where there are opportunities for research, creation, and performance in repertoire ranging from opera to Broadway.
In the Dan School, we offer a welcoming environment in which the pursuit of excellence in artistic practice is accompanied by an education in the theory and history of the disciplines. Our students become excellent communicators, imaginative collaborators, and disciplined critical thinkers as well as developing extensive experience as creators, performers, and broadly skilled technicians in the theatre and the concert hall. Our shared facilities in the beautiful Isabel Bader Centre for the Performing Arts, on the shore of Lake Ontario, offer state-of-the art equipment and superb spaces such as a world-renowned Performance Hall, a Studio Theatre, a lake view Rehearsal Hall/Recording Studio, and a suite of smart classrooms and soundproof studio spaces.
Through our research and teaching we encourage those in our community, especially our students, to discover a meaningful and dignified place in the broader world, by educating their imaginations and encouraging them to think creatively in an ever more digitized, globalized, and diverse society. Some of our popular offerings include Music Theatre, Music Education, Composition, Acting, Vocal Music, Playwriting, Technical Production, online courses in Entrepreneurship and Innovation (including a certificate program), our summer courses in residence at the Shaw Festival, and our courses in Medieval performance taught at Herstmonceux Castle in England. We also offer an internship course in which students work with a professional arts organization. Our graduates are broadly resourceful thinkers and practitioners able to work comfortably and confidently in a wide range of professions. Studying Drama and Music at Queen’s can take place in three main locations – Theological Hall, one of Queen’s oldest buildings and often referred to as the most dramatic building on campus; Harrison-LeCaine Hall; or at the new, world-class Isabel Bader Centre for the Performing Arts.
Overview
At Queen’s, you can balance the study of drama and music from theoretical and practical perspectives. Presentations and workshops by guest artists and scholars as well as student participation in mainstage and studio theatre productions and ensemble concerts for the public bring breadth and depth to our programs. For students interested in collaboration between the fields of Drama/Music and Film/Media, there is a Specialization Plan in Media and Performance Production (formerly known as Stage and Screen Studies). Queen’s Music studies include courses in applied study (performance), musicology/ethnomusicology, music education, and theory and composition with a strong focus on the Western classical tradition. Drama at Queen’s offers a range of focus areas including performance, production, theatre history, dramaturgy, and design.
The School offers Major, Joint Honours, and Minor/General Plans as part of the regular Bachelor of Arts and Bachelor of Arts (Honours) degree Programs, and also specialization degrees: the Bachelor of Music and the Bachelor of Music Theatre. Students who apply to B.A.Honours and B.Mus. programs can also pursue a concurrent Bachelor of Education degree program with Queen’s Faculty of Education.
The Bachelor of Music degree program is a four-year direct-entry degree program and is subject to special admission conditions including an audition, music theory and aural skills tests, and an interview. Students must also meet the minimum academic requirements for admission to the University (See below and Admission Regulation 12 for details). B.Mus. students achieving a grade of B+ or lower on the music theory test will be expected to do remedial work to strengthen their skills before commencing the program.
The Bachelor of Music Theatre degree program is a joint program with St. Lawrence College (Brockville). Students acquire practical skills in singing, dancing, and acting in the first two years of the program hosted by St. Lawrence College. This practical training is then augmented with two years academic study at Queen’s to attain the B.M.T. degree.
The Specialization Plan in Media and Performance Production (MAPP) is ideal for students interested in combining courses from Film and Media Studies and the Dan School of Drama and Music. Not only do student draw together lessons learned in each program but there is a specific core of MAPP courses that place a high priority on the exploration and integration of media and performance across a variety of contexts, from moving image production to the integration of “media” into live arts. Students in MAPP have enhanced opportunities to work in both live and recorded presentations that incorporate music, sound, and performance studies.
The Entrepreneurship and Innovation Certificate is the first of its kind, bringing together nine different Faculties, Schools, Departments and service units. Housed within the Faculty of Arts and Science and the Dan School of Drama and Music, this certificate was designed to allow students to develop an entrepreneurial mindset and to execute intrapreneurial innovation. Students will have the opportunity to study and practice skills in marketing and promotion as well as finance and business planning. Through a variety of interdisciplinary courses, students will be challenged to brainstorm, research, design, and present a new product or service to peers, end users, leadership teams, potential investors, and to online and digital publics.
Departmental Policies
- Students enrolled in DRAM courses will be expected to attend theatre shows. Cost will vary depending on the venue of each show. Further details can be found in each course syllabus.
- Students enrolled in MUSC courses will be expected to attend musical performances. Cost will vary depending on the venue of each show. Further details can be found in each course syllabus.
- Procurement and costs of musical accompaniment are the students’ responsibility.
- Students in the following categories will be required to provide their own instrument. Information is available from the Dan School.
- who are enrolled in the secondary instrument courses MUSC 281–MUSC 288 ;
- who are enrolled in applied studies courses (MUSC 121, MUSC 221, MUSC 321, MUSC 421, MUSC 120, MUSC 220, MUSC 320, MUSC 420, or MUSC 124, MUSC 224, MUSC 324, MUSC 424) for instruments other than piano, voice, or percussion; or
- who require an instrument for participation in a Music program ensemble.
Advice to Students
First Year Courses and Electives
Students who wish to pursue a BAH Drama Plan are advised to take either DRAM 100 or (if studying at Bader College) BADR 100 and BADR 101.
Students who wish to pursue a BAH Music Plan are advised to take MUTH 110 and MUTH 111 (Minor/General) and also MUSC 191 (Major/Joint Honours); and MUSC 104 or MUSC 105 if no previous experience with music rudiments.
Course Load
B.Mus. students may register for a maximum of 37.50 units over the Fall and Winter Terms. All other students must follow the normal course load restrictions as detailed in Academic Regulation 3.
Ensembles
Ensemble courses are open to all students in Arts and Science for credit, upon successful audition. All students wishing to participate in large and medium ensembles must audition in early September. Contact the DAN School (info.danschool@queensu.ca) regarding admission procedures for small ensembles.
Access to and Credit for DRAM, MUSC, MUTH Courses in Other Arts and Science Programs
Many DRAM, MUSC, and MUTH courses may be used to fulfill the elective or Plan requirements of Arts and Science degree Programs. Students interested in Music courses who cannot read music notation may take MUSC 104, MUSC 114, MUSC 156, MUSC 171, MUSC 240, MUSC 245, MUSC 255, MUSC 271, MUSC 280, MUSC 282, MUSC 289, or take MUTH 110, MUTH 111, MUTH 201, MUTH 211, MUTH 232, MUTH 240, MUTH 250, MUTH 251 without conditions; such students interested in enrolling courses beyond this list should consult with the Dan School regarding music notation requirements.
Admission
Students in Major, Joint Honours, or Minor/General Plans follow the standard Arts and Science admission regulations. Admission to the Bachelor of Music and Bachelor of Music Theatre Programs is by direct-entry. Once admitted to these Programs, students will be automatically enrolled in the appropriate Specialization Plan. Admission will generally require an audition.
Transfer students from other universities or from any other Faculty at Queen’s must also apply through Undergraduate Admission to the B.Mus. Program. This includes any students who were previously required to withdraw from the B.Mus. Program and who wish to gain re-entry. See Admissions Regulation 12 for complete details.
Faculty
- Quincy Armorer
- Robin Attas
- Dianne Baird
- Guy Bannerman
- Keith Barker
- Greg Bavington
- Julia Brook
- Chantal Brunette
- John Burge
- Dean Burry
- Michael Capon
- Darrell Christie
- Gisèle Dalbec-Szczesniak
- Elizabeth Eccleston
- Cormac Evans
- Sharry Flett
- Graham Freeman
- Jeff Hanlon
- Ali Hassan
- Shari Hughson
- Kelsey Jacobson
- Bruce Kelly
- Eric Lee
- Katie Legere
- Jeffrey Leung
- Stephanie Lind
- Cecilia Livingston
- Michael Lukaszuk
- Robb MacKay
- Sidneyeve Matrix
- Christopher Mayo
- Chipewyan McCrimmon
- Tom McGee
- Jay McLellan
- Sarah Yunji Moon
- Melissa Morris
- Colleen Murphy
- Dina Namer
- Patricia O'Callaghan
- Kip Pegley
- Graham Price
- Golam Rabbani
- Adair Redish
- Chick Reid
- Colleen Renihan
- Grahame Renyk
- Natalie Rewa
- Dylan Robinson
- Dirk Rodenburg
- Matt Rogalsky
- Greg Runions
- Julie Salverson
- Kat Sandler
- Richard Sanger
- Donato Santeramo
- Clelia Scala
- Adrienne Shannon
- Gordon E. Smith
- Neil Spaulding
- Jenn Stephenson
- Maya Stitski
- Zoë Sweet
- Michel Szczesniak
- Cynthia Tormann
- Wolf Tormann
- Dan Tremblay
- Sarah Waisvisz
- Craig Walker
- Margaret Walker
- Greg Wanless
- Michael Wheeler
- Kornel Wolak
- Ireneus Zuk
Courses
Drama (DRAM)
An exploration of theatre as a live performing art that seeks to engage, document, and affect communities. Topics may include theatre and society, theatrical representation, performance, and the work of actors, directors, designers, technicians, and playwrights. Opportunities given for practical projects.
A chronological survey of production methods, architecture, performance, and dramatic literature in western and eastern theatre traditions from early classical eras to the end of the 19th century.
Explores collisions between theatre and pop culture in media including film, theatre, pop music, television, and social media. Concepts including but not limited to theatricality, liveness, affect, and performativity will provide students with critical analysis skills applicable to pop culture.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
An introduction to the history and theory of theatre conceived for audiences of young people. Students will read a variety of plays intended for young audiences and consider the social and artistic issues associated with various dramatic and theatrical techniques.
NOTE Only offered online. Consult Arts and Science Online.
A seminar or practicum in selected areas of the curriculum.
NOTE Not offered each year. Prerequisites vary depending on specific course content. See Department for details.
A study of applied dramatic literature, including structure, genre, and staging techniques. Students will analyze several plays from various points of view, embracing both theatrical and literary concerns.
Students will examine and critique various styles of stand-up comedy and will work towards creating their own performances that are well-suited to their particular talents.
NOTE Subscription to various websites and streaming services: estimated cost $95.
An introduction to the principles and skills of preparing and delivering effective oral presentations. Using acting techniques and the principles of theatre, students will explore confidence building, vocal and physical dynamics as well as creative expression.
A practical introduction to the fundamental skills and techniques of acting, involving an appreciation of the interdependence of the actor's body, voice, intellect, feeling, and cultural context.
A practical introduction to various theories and styles of acting, involving the exploration of various approaches to the cultural and period context of performance.
NOTE Priority enrolment given to students in a DRAM or STSC/MAPP Plan.
Practical work in selected areas of performance. Not offered every year.
NOTE Priority enrolment given to students in a DRAM Plan.
A theoretical and practical introduction to technical production including various elements of theatre space, design and construction, ground plans, and stage management.
NOTE Design Software (CAD) and/or other materials: estimated cost $25.
NOTE Students in the DRAM Major or a Joint Honours Plan are strongly encouraged to take DRAM 246 in their second year concurrently with DRAM 240.
An examination of design elements in theatrical production, exploring the work of design practitioners and theorists, and studying the design process.
A theoretical and practical introduction to theatre production including various elements of design construction, costume, properties, lighting and sound systems and equipment.
NOTE Costume Construction Fee: estimated cost $35.
A credit/non-credit practicum for 48 hours of extra-curricular work in drama-related fields, including departmental productions.
NOTE Preference will be given to students registered in a DRAM, MAPP, or STSC Plan.
A credit/non-credit practicum for 48 hours of extra-curricular work in drama related fields, including departmental productions.
NOTE Preference will be given to students registered in a DRAM, MAPP, or STSC Plan.
Writing of dramatic exercises and one-act plays accompanied by dramaturgical study of published and original works.
NOTE Priority in the on-campus offering of this course is given to students in a DRAM Plan.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
A practical performance course where students will actively explore historical performance styles and conventions. The focus of this course will be the rehearsal of one or more plays to be presented in period acting style and costume as part of England's Medieval Fair at the culmination of the course.
A study of production and performance methods, and dramatic literature of the 20th and 21st centuries.
An exploration of theoretical questions underlying drama and performance throughout their histories. Selected readings, lectures, student presentations, class discussions and contemplation of theatre issues.
A survey of the work of First Nations, Inuit, and Métis playwrights, exploring the stories, concerns and aesthetics of these contemporary theatrical practitioners. Course work involves reading, discussion, and writing descriptively, critically or creatively about selected pieces in artistic, social and/or political contexts.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
Our study will trace how theatre artists understand dynamic engagements with "being here" - the cultural contexts and the making of public events. Studying work initiated by writers, performers, and designers, we will investigate how response-ability engages us locally and from coast to coast to coast in Canada in the making of theatre.
The theory and practice of theatre conceived for audiences of young people. The course will begin with an examination of examples of the genre and will culminate in a public performance.
A seminar or workshop in selected areas of the curriculum. Not offered every year, consult the DAN School for more information.
NOTE Subscription to various websites and streaming services: estimated cost $95 (some topic titles do not require this additional fee).
A study of approaches to directing, with examples drawn from both historical and contemporary performance practices. A multiplicity of methodologies, histories, and theoretical approaches to directing will be explored.
Exploration of practical preproduction needs. Topics may include casting, staging, theatre configuration, textual alteration, rehearsal technique, period research, design approaches.
An introduction to playing Shakespeare. Ways of breathing life into the text thereby communicating a character's thoughts, wants and emotional state to an audience will be explored.
An extension of core acting skills and an opportunity to develop an appreciation for performance through the medium of mask.
An introduction to basic on-screen performance techniques. Each student performs behind and in front of the camera although the emphasis is on performance. Acting technique in this course will be centred around the Practical Aesthetics approach to acting.
Practical work in selected areas of performance. Not offered every year, consult the DAN School for more information.
NOTE Materials/Supplies: estimated cost $35 (not every topic title requires this additional fee).
An examination of specific topics in contemporary design practice with special attention to the areas of lighting, costume, and sound design: includes theoretical and practical design projects.
A study of the integration of the elements of design which together contribute to a three-dimensional environment for performance.
Advanced technical production studies involving sound, lighting, stage management, wardrobe, and carpentry. Students will participate in major departmental technical projects.
An introduction to techniques and materials used in designing and building theatrical properties. Students will research, design, and build props. They will work with a range of materials and learn a variety of fabrication techniques, including sculpting, carving, painting, plaster and silicone mold-making and 3D printing.
NOTE Materials/Supplies: estimated cost $35.
Continuation of DRAM 251/3.0. An intermediate study of playwriting and dramaturgy, including exercises in dramatic techniques and composition of original works.
Continuation of DRAM 251*. An intermediate study of playwriting and dramaturgy, including exercises in dramatic techniques and composition of original works.
Intensive study in the mandate and practice of the Shaw Festival in Niagara-on-the-Lake, Ontario. Students attend several productions at the Shaw Festival, discussing these in seminars and with guest speakers drawn from the Shaw company where available.
NOTE Taught in Niagara-on-the-Lake during Summer Term. May be taken in conjunction with DRAM 373/3.0. Students are responsible for the costs of transportation, accommodation and Shaw Festival theatre tickets. Costs vary annually and details may be found on the Department website. Estimated $545.00.
Intermediate acting course in which a variety of techniques and exercises will be used to explore selected dramatic texts drawn from the mandate of the Shaw Festival - mainly plays written during the lifetime of George Bernard Shaw (1856 to 1950).
NOTE Taught in Niagara-on-the-Lake during Summer Term. There is a lab fee for this course which includes theatre tickets. Information regarding fee and accommodation is available on the Departmental website.
A survey of selected topics concerning women's participation in international theatre. Emphasis will be on historical, practical and theoretical inquiry and application of feminist methodologies in such work.
Examination of the work of selected playwrights, to include world drama currently or recently produced in the British theatre.
NOTE Offered only at Bader College, Herstmonceux.
Students can apply to undertake a practical internship in theatre production or administration.
NOTE Students will be given a grade of Pass/Fail for work done.
A practicum course amalgamating a variety of aspects of theatre and drama.
A seminar or workshop in selected areas of the curriculum.
NOTE Not offered every year, see Department webpage for details.
Students' directing of short scenes will be the basis of practical exploration of directorial methods.
Research, rehearsal and presentation of a role for performance.
Practical work in selected areas of performance.
NOTE Not offered every year, see Department webpage for details.
This course examines a range of administrative and collaborative skills necessary for producing theatre works. Among the areas that will be defined and discussed are marketing, budgeting, fundraising, staffing, and production management, as applied to a variety of types of organizational contexts (commercial, non-profit, university, and community).
A study of the relationship between the evolving cultural and political milieu and the theatre. Topics may include performance as an act of witness, theatre as a relational and ethical practice, theatre and human rights, theatre and its relationship to stories of violence, activist theatre, and inter- and intra-cultural theatre.
An independent advanced project or thesis in any area of the basic curriculum in drama, supervised and evaluated by faculty.
NOTE In addition to the prerequisites indicated, the School may require a grade of A- in any DRAM course relevant to the subject of study.
An independent advanced project or thesis in any area of the basic curriculum in drama, supervised and evaluated by faculty.
NOTE In addition to the prerequisites indicated, the School may require a grade of A- in any DRAM course relevant to the subject of study.
An independent advanced project in the area of design, supervised and evaluated by faculty.
NOTE The normal classroom time of 36 hours is spread over two terms.
Advanced examination of various roles in technical production, especially production and stage management, over the full year. Practical stage management projects are a component of the course.
NOTE The normal classroom time of 36 hours is spread over two terms.
Entrepreneurship and Innovation (ENIN)
This course teaches design thinking techniques and their application to real-life case studies. Design Thinking takes a cross-disciplinary approach wherein students from various academic and professional backgrounds engage in co-creation, peer review, online discussions, brainstorming, and prototyping activities.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
This course delivers an introduction to the economic and organizational dimensions of innovation and entrepreneurship. Using case studies of real companies and initiatives, we'll evaluate how disruptive and incremental innovations bring about changes in the market by prompting new products and services, business models, technologies, and paradigms.
NOTE Only offered online, consult Arts and Science Online.
NOTE Also offered at the Bader International Studies Centre, Herstmonceux (Learning Hours may vary).
This course develops an understanding of the basic principles, processes and applications of public relations and marketing communications in the arts and entertainment sectors, and across the creative industries. From arts marketing, fundraising, and publicity, to talent and music management, and event planning, the course covers how public relations can be applied to many fields.
NOTE Only offered online, consult Arts and Science Online.
The course welcomes students from any background to collaborate and explore the overlapping practices, paradigms, and points of divergence between the arts and STEM disciplines (Science, Technology, Engineering, and Mathematics). A "STEAM" approach combines what may at first appear to be opposite methods and processes, by emphasizing the importance of creativity, collaboration, and critical analysis to art and science.
NOTE Only offered online, consult Arts and Science Online.
This course illustrates the concept of disruptive technology - where the pace of technological progress easily exceeds the rate of performance improvement that customers in a market demand. The cases we will cover highlight the implications of such innovation on the research, design, promotional, and business strategies involved.
NOTE Only offered online, consult Arts and Science Online.
Students will examine four aspects of creativity - the creative person, process, product, and press - to increase the degree to which they recognize and nurture their own creative potential. Supported by interdisciplinary research and theory, students will assess the increasing importance and global context of creativity skills in the 21st century.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
This course offers a primer on personal and organizational creativity, and is designed to support learners to develop entrepreneurial mindsets. Learners will study emerging theories of creative thinking, and develop a deep understanding of, and engagement with, discourses and methods of innovation in the creative industries.
NOTE Only offered online, consult Arts and Science Online.
NOTE Also offered at the Bader International Studies Centre, Herstmonceux (Learning Hours may vary).
Examines current innovation and entrepreneurship trends, practices, styles, theories, texts, and discourses. Through online research, assigned readings, and creative assignment, students will engage in creative exploration of innovative products, services, business models, and learn about innovative individuals.
NOTE Only offered online, consult Arts and Science Online.
This course is designed as an intense, short-burst, experiential learning expedition. It is an opportunity for students to practice developing innovative, effective solutions to real-world business, social, and creative problems.
NOTE Only offered online, consult Arts and Science Online.
Media and Performance Production (MAPP)
This introductory course explores the integration of media and performance across a variety of contexts beyond traditional theatre and film. Students will be introduced to key theoretical concepts through which media and performance intersect, and will mobilize these concepts through their own original intermedial performance projects.
NOTE Administered by the Department of Film and Media
The course explores the relationship between different media within and across traditional domains such as theatre, film, art, dance, and music. It also focuses on the multiplicity of interactive forms that encompass digital media, by studying digital media practices beyond changing art forms, commercial, and non-profit realms.
NOTE Administered by the Department of Film and Media
A production class exploring the formal concepts, historical underpinnings, and technical tools used in the production of independent sound works, or in the production of more elaborate sound components for video, film or theatrical projects.
NOTE Administered by the Department of Film and Media.
Students can apply to undertake a practical internship in media or performance production, criticism, or curatorship. Approval will depend on the quality of the proposal and the academic record of the applicant. It is the responsibility of students, not the departments, to arrange internships. Internships can be completed in any academic term.
NOTE Students will be given a grade of Pass/Fail for work done.
This course will include a focus on the development of 'social design' as a framework for understanding the evolution of digital interactivity and live performance. Students will undertake a creative thesis project that experiments with or explores the intersection of live performance and media technology.
NOTE This course is administered by the Department of Film and Media.
NOTE Admission to Livestreamed Performances: estimated cost $100.
An advanced course in developing expertise through research and praxis in specialized areas of media and performance.
An introduction to the history, theory, aesthetics and applications of Visual Music, a term broadly categorizing experiments in art and science which closely mesh visual and sonic media. Through workshops, practical production exercises and research assignments this course examines relationships between music and image from the 1600s to present.
NOTE Administered by the Department of Film and Media.
Music (MUSC)
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 Student 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 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 Accompanist Fee: estimated cost $500 - $1,000.
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).
NOTE Accompanist Fee: estimated cost $500 - $1,000.
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.
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 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.
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 Accompanist Fee: estimated cost $500 - $1,000.
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.
NOTE Accompanist Fee: estimated cost $500 - $1,000.
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.
Practical aspects of the physics of musical instruments, architectural acoustics, physiology of the ear and of the voice, tuning and temperament, psychoacoustics, and audio electronics including analog and digital technologies for recording, synthesis and broadcasting. Attention will also be given to the history and literature of electroacoustic music.
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.
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.
NOTE Enrolment is limited to students in a MUSC or MUTH Plan.
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.
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 access to their own instrument(s) and rental options will be made available on the first day of class if needed.
NOTE 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.
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 Accompanist Fee: estimated cost $500 - $1,000.
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.
NOTE Accompanist Fee: estimated cost $500 - $1,000.
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.
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 Accompanist Fee: estimated cost $500 - $1,000.
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.
NOTE Accompanist Fee: estimated cost $500 - $1,000.
Continuation of MUSC 324.
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.
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.
Music Theatre (MUTH)
An introduction to Western music, theatre, art, and literature in historical and global perspective, focusing on drama and music to place artistic creation between 400 BCE-1750 CE in a social and political chronological framework. We will explore Mediterranean Antiquity, European Medievalism, Global Early Modernity, and the European Baroque, weaving in questions of historiography and cultural exchange.
An introduction to the study of Western music, theatre, fine art, and literature in historical and global perspective. Using drama and music as a focal point, this interdisciplinary course will place artistic creation in a social, philosophical, and political chronological framework. Key periods include European Romanticism, Modernism, and Popular Culture.
NOTE Also offered at the Bader International Studies Centre, Herstmonceux. Learning Hours may vary.
Performance experience for qualified musicians in a staged vocal ensemble. Topics include musical theatre, opera, or other ensemble formats combining voice and drama.
NOTE Placement is made at the discretion of the School based on an audition or other criteria.
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 MUTH 360).
This course is structured around a series of case studies of particular moments in the history of the representation of sex and violence in dramatic and musical performances.
NOTE Only offered online. Consult Arts and Science Online.
A study of vocal techniques including Legitimate in the Golden Age of Musical Theatre to Belt/Mixed Belt in contemporary musicals and popular music culture, and Classical/Operatic styles. The course incorporates current research in the functional utility of breath and sound production and an emphasis on the application of practical singing/listening.
NOTE BMUS voice majors are encouraged to take this course and may enrol without the prerequisite through the School.
A continuation of dance, movement and performance techniques developed in previous instruction. This course will include the study of the creation of choreography for ensemble members. Students will learn to choreograph a musical theatre piece with a proper historical context, technique, and relationship to appropriate text.
NOTE Students with previous intermediate private dance experience, including through Queen's clubs, are encouraged to request permission to enrol.
An examination of the major trends in musical theatre production and theory since the 19th century, exploring the work of important composers and lyricists and the structure of musical theatre works.
An introduction to opera through the study of selected works from the Baroque era to the 20th century. Equal attention will be paid to literary, musical, and visual aspects.
With so many digital disruptions and new intermediaries affecting the way creative works are conceived, created, distributed, and consumed, this course explores a range of impacts on the entertainment sector, inspired by the Internet, digital convergence, and mass adoption of mobile and social consumer technologies.
An exploration of a specific topic or skill set in Music Theatre.
A credit/non-credit practicum for 48 hours of extra-curricular work in music theatre related fields, including departmental productions.
An introduction to the building blocks of music theatre, including music, book/libretto, staging, choreography, and voice. Drawing on examples from opera, operetta, musical theatre, cabaret, avant-garde, and vaudeville, and engaging in multi-media and live documents, students will delve deeply into questions about how music theatre works.
NOTE Transportation/Live Performance: estimated cost $100.
An introduction to the ways that vaudeville, cabaret, operetta, opera, and musical theatre serve as multi-layered sites of political consequence. By placing these works in dialogue with studies in race, cultural politics, queerness, disability, and aesthetics, students will understand music theatre's potential for intervention in our world.
NOTE Transportation/Live Performance: estimated cost $100.
Performance experience for qualified musicians in a staged vocal ensemble. Topics include musical theatre, opera, or other ensemble formats combining voice and drama.
NOTE Placement is made at the discretion of the School based on an audition or other criteria.
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 MUTH 360).
A seminar course devoted to the exploration of a range of drama and music from the Medieval period in England. Students will examine documentation from both religious and secular traditions and their context within society.
NOTE: Only offered at the BISC
Equivalency DRAM 271/3.0
An applied course integrating advanced-level singing, dancing and movement techniques, choreography, devising, and other creative applications in music theatre scenes. Through written assignments and performance, students prepare and perform scenes that integrate the work of the composer, lyricist, and book writer.
NOTE Students with previous singing and advanced private dance class experience, including through Queen's clubs, are encouraged to request permission.
Preparation and examination of selected Lieder, music theatre, and/or opera aria repertoire in duo form for singers and pianists. Aspects of interpretation and execution of each performance will be discussed by instructors, with additional input from class participants.
NOTE A previous course in keyboard accompaniment or fluency in sight-reading is highly recommended for pianists taking this course.
An intensive study of a particular topic within the area of Music Theatre.
Theatrical knowledge and practical application of skills required for music direction in Music Theatre, including musical theatre, opera, song cycles, reviews, cabarets, concerts, proof of concepts, and workshopped productions. Students will develop transferable skills to work as a music director across performance genres.
Exploration and discussion of historical and contemporary performances as well as theories of acting, character development, staging and other topics related to Opera performance. Knowledge will be applied and expanded through live performance of scenes from the repertoire. Course may focus on a specific work, composer, or theme.
NOTE Students enrolling in this course should have previous classical singing experience.
An exploration of the varied components of Music Theatre creation through the practical application of writing, designing and publicly performing short, original music theatre scenes. Students will work in small groups to create all aspects of the original scenes including script, lyrics, music, staging, sets, costumes and promotion.
An introduction to the principles and skills necessary for a successful career in the arts centered around business aspects as well as important facets of professionalism required in today's arts fields. Topics may include business practices, concert planning, grant writing, promotion and publicity, and the role of supporting professionals.
Performance experience for qualified musicians in a staged vocal ensemble. Topics include musical theatre, opera, or other ensemble formats combining voice and drama.
NOTE Placement is made at the discretion of the School based on an audition or other criteria.
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 MUTH 360).
An exploration of traditional African cultural forms including music, storytelling, mask work, and dance and how those roots are the foundation of contemporary music and theatre from Africa and the African Diaspora.
Further development of research skills from foundational courses, investigating bibliographic, archival, ethnographic, and embodied research methodologies. Other topics include critical theories, ethical considerations, and issues of representation.
The course examines research and research methodologies that underpin the discipline.
Students can apply to undertake a practical internship in music theatre.
NOTE Students will be given a grade of Pass/Fail for work done.
Students can apply to undertake a practical internship in music theatre.
NOTE Students will be given a grade of Pass/Fail for work done.
An examination of dance and movement studies through a variety of theoretical, historical and contextual modes of analysis.
An intensive study of a particular topic within the area of Music Theatre.
An analysis of selected opera designers focusing on the kinaesthetics of design for opera to reflect society. Emphasis is placed on the intersections of music with singing, and choreography and a dynamic visuality.
Performance experience for qualified musicians in a staged vocal ensemble. Topics include musical theatre, opera, or other ensemble formats combining voice and drama.
NOTE Placement is made at the discretion of the School based on an audition or other criteria.
An exploration of 20th- and 21st-century interventions in art music, popular music, music theatre, applied and social theatre, and/or documentary theatre. Via reading, performance analysis, and creative interventions, students employ theories of performance to understand the components, motivations, and impact of performance in times of crisis.
NOTE Transportation/Live Performance: estimated cost $100.
An independent advanced project or thesis in any area of the basic curriculum in music/theatre, supervised and evaluated by faculty.
An independent advanced project in any area of the basic curriculum in music/theatre, supervised and evaluated by faculty.