Courses Fall/Winter 2018-19

• Instructor: James Deaville
• This course provides an introduction to music scholarship. Students will become familiar with a broad range of approaches to the study of music (historical musicology, popular music studies, ethnomusicology, film music studies, music theory, music psychology). The student will learn not only how to do research and how to write about music, but also how to cope in university studies in general, including taking notes, tests and the like. These skills will be developed not just for the sake of this course, but as a foundation for all your future work in Music and the wider university.

================

• Instructor: John Higney
• Via lectures, readings, and assignments students are introduced to the history of western art music from the Middle Ages to the present. The ability to read music is not required as students investigate musical practices, styles, genres, significant persons and places. In addition to the music itself, the broader cultural contexts of literature, visual arts, politics, philosophy, and society are considered. Historical knowledge and musical skills acquired through this course will equip students to better appreciate western art music and culture.

================

• Instructor: Dave Schroeder
• A survey of western art music from the middle ages to the present. The materials and lectures of this course are designed to augment sensual musical experiences with knowledge of the principal genres, forms, and technical features of western art music. The historical, cultural, and aesthetic contexts that shape the creation and reception of musical works will be explored in depth. Successful students will develop a deeper appreciation of music as culture: an appreciation that is sensual, intellectual and aesthetic. Major historical periods will be examined through representative music ranging from plainchant to contemporary musical trends.
• Course work will include diligent lecture attendance, weekly readings and listening assignments. Exams will include listening identification components.
• Required Text: Wright, Craig. Listening to Western Music, 7th ed. Schirmer/Cengage Learning, 2014. Available at the Carleton University Bookstore and elsewhere.

================

• Instructor: Dave Schroeder
• This course is designed to teach students to think critically about popular music. Throughout the semester, students will gain important interpretive skills for the study of popular music, with a strong emphasis on concepts and modes of thought. Issues discussed include: ideology, commodification, politics, technology, race, gender and sexuality, subcultures, production and consumption, geography, and globalization.

================

• Instructor: John Higney
• Popular music is consumed by billions of people around the world; yet, in everyday life, rarely do we consider how our lives are shaped by popular music. This course investigates popular music as social and cultural practice from a variety of perspectives including industrial and cultural production/consumption, gender and sexuality, race and racialization, texts and signification, globalization, media, technologies, and dissemination, audiences and fandom (mainstream and subcultural). The topics and modes of inquiry presented in this course will prepare students to think critically about popular music and wider culture in the modern world.

================

• Instructor: Dave Schroeder
• An introduction to the rudiments of music and aural training. Successful completion of this course will fulfil the prerequisite for entry into MUSI 1700. Not available to B.Mus. students for credit.

================

• Instructor: James McGowan
• Text: Jane Piper Clendinning and Elizabeth West Marvin, The Musician’s Guide to Theory and Analysis. THIRD Edition. W.W. Norton: 2016. Only Textbook is required. (Workbook and anthology are not required.)
• Instructor’s Statement: This course is divided into four units:
  • a review of music theory fundamentals (which also includes new information needed for later study); includes rhythm and meter, major and minor keys and scales, intervals, triads, and seventh chords.
  • a study of chords and songwriting; analysis and writing of triads and seventh chords with Roman numerals, figured bass, and lead-sheet notation; the study of melody writing; poetic text rhythm; transposition.
  • a detailed introduction to the study of tonal species counterpoint (rooted in 16th-century music, but relevant to all tonal music); topics including: consonance and dissonance treatment, “good” melodies,  voice leading, melodic ornamentation, suspensions. This is the largest unit.
  • and finally an introduction to 18th-century harmony and voice leading (again, relevant to all tonal music); cadences, SATB choral writing, outer-voice counterpoint, the basic phrase, and analysis.
• The course material will be supported with aural and printed musical examples, as well as supplemental materials. A diversity of musical examples will be studied, from Renaissance to Popular music. Since the well-rounded musician must develop written skills hand-in-hand with aural skills, the importance of making the connection between the aural effect of musical examples, and their written form, will be stressed.
• A satisfactory score on the theory placement test is required to take the course. This course is worth 0.5 credits and consists of two 1.5 hour weekly lectures, plus an optional tutorial.
• Evaluation: weekly take-home assignments, midterm test, and final exam.
• Lecture Format: two weekly 1.5 hour lectures (0.5 credits)

================

• Instructor: Jen McLachlen
• This course continues to study principles of 18th-century harmony, voice leading and formal structure through written exercises and analysis. At the end of the course, students will be able to write, recognize and label a large repertoire of diatonic chords, as well as applied dominants and modulating passages. In our formal analysis we will begin to study small forms.
• Evaluation: Regular assignments, attendance and participation, midterm and final exam.
• Text: TBA

================

• Instructor: Jen McLachlen
• The purpose of the course is to develop a “seeing ear” and a “hearing eye.” Over the course of the
  semester, you will develop the ability to translate sound into notation and vice versa. Sight-singing and dictation skills are of paramount importance to the aspiring professional musician. Sight-singing
  improves your ability to sight-read on your instrument; dictation facilitates error-checking,
  transcription, and a host of other activities.
• Evaluation: Regular assignments, attendance and participation, midterm and final exam.
• Text: TBA

================

• Instructor: Kathy Armstrong
• This applied rhythm course will immerse students in hands on activities that are designed to build facility with Western and non-Western rhythmic concepts and their practical applications. Through use of the rhythmic solfege system Takadimi, students will learn to recognize rhythmic patterns and groupings. A fundamental element of the course will be participation in traditional music-making practices from West Africa.
• Evaluation: written tests, playing tests, written assignments, participation and attendance
• Required Text: Hoffman, Richard (2009). The Rhythm Book (2nd ed.). Franklin, Tennessee: Harpeth River Publishing

================

• Instructor: Dave Schroeder
• This course will engage students in the study of jazz music as a dynamic and culturally significant art form. Students will develop the ability to identify key figures in the historical development of jazz and aurally recognize various forms of jazz music. The successful student will gain an understanding of the historical, sociological and aesthetic significance of various forms of jazz-related music throughout the history of the genre. The modern state of the art form and its various permutations will be explored in depth.
• Classes will include recorded and performed examples of relevant material.

================

• Instructor: William Echard
• This course provides a cultural and stylistic overview of popular music styles in North America from colonial times to the mid-1940s. Students will gain familiarity with the distinguishing characteristics and social/historical importance of major styles like Tin Pan Alley pop, several different kinds of country music and blues, and early dance music, among others.
• Previous expertise in music theory or music history is not expected or required.
• Marking will be based on a mixture of in-class quizzes (not more than 2), a short essay, a medium-length essay, and a final exam.

================

• Instructor: William Echard
• This course provides a cultural and stylistic overview of Anglo-American popular music styles from 1945 up to the late 20th century. Students will gain familiarity with the distinguishing characteristics and social/historical importance of major styles like early rock and roll, soul, funk, 1960s rock musics, punk, electronic popular musics, and hip hop, among others.
• Previous expertise in music theory or music history is not expected or required.
• Marking will be based on a mixture of in-class quizzes (not more than 2), a short essay, a medium-length essay, and a final exam.

================

• Instructor: Kathy Armstrong
• This course is an introduction to Music of the World’s Peoples, and the sociocultural contexts in which those musics are created and performed.  We will investigate music from several different geographic areas (Africa, India, North America, Latin America, Caribbean, Asia and Pacific, Europe and the Middle East) using relevant readings, discussion, listening examples and participatory methods.
• Evaluation: reading responses, midterm, term research project, final exam, participation and attendance
• Required Text: Titon, Jeff Todd (2018) Worlds of Music: An Introduction to the Music of the World (Shorter Version), fourth edition, New York: Cengage.

================

• Instructor: John Higney
• Sometimes referred to as “The Dark Ages,” the Medieval Era (c. 4th to c.15th centuries) was anything but dark. From the Carolingian Empire to the great universities at Bologna, Oxford, Paris, and Cambridge to the powerful secular and ecclesiastical courts of Italy, France, Spain, and England, music and music making played a central role in medieval culture. This course investigates the rich repertory of medieval music and its uses in court, civic, clerical, and educational contexts over the the span of a millennium in the contexts of politics, religion, social/economic organization, education, literature, visual arts, dissemination, aesthetics, and philosophy. Through lectures, readings, and assignments students will gain insight into the myriad ways medieval culture shaped the modern world. While useful, the ability to read musical notation is not required.

================

• Instructor: John Higney
• Through lectures, readings, and course work, students will investigate composers, compositional devices, genres, forms, and styles in the context of Baroque aesthetic and political cultures. These areas of enquiry will be augmented with considerations of related fields such as literature, technology, theatre, economy, and philosophy. Upon completion of MUSI 2102 students will gain a solid foundation in both the principal aesthetic features of music of the period as well as the broader culture from which it arose. While useful, the ability to read musical notation is not required.

================

• Instructor: James Wright
• A survey of European classical music from circa 1885 to circa 1950. Composers and idioms to be examined within the socio-political climate of the period include Debussy (impressionism, symbolism), Schoenberg and the Second Viennese School (expressionism, free atonality, twelve-tone method), Stravinsky (primitivism, neo-classicism), Satie and “les Six” (neo-classicism, neo-tonality), Shostakovich (Soviet socialist realism), Scriabin, Ravel, Bartok, Prokofiev, and others.
• Lectures will concentrate both on the stylistic traits of the music itself, as well as the sociological, historical, and cultural forces that informed and influenced its creation and reception.

================

• Instructor: Mark Ferguson
• This course is intended to assist students with the acquisition of skills related to musical instrumentation and notation. This will be accomplished through lectures, assigned readings, in-class exercises, take-home assignments and individual projects. The in-class exercises and take-home assignments will focus primarily on instruments found in the Western symphony orchestra. We will also discuss arranging for concert band and jazz ensemble.
• Required text: The Study of Orchestration by Samuel Adler
• Evaluation:
  1. Three take-home assignments (10% each)
  2. Individual oral presentation (10%)
  3. Midterm exam (15%)
  4. Final exam (20%)
  5. Final orchestration assignment (25%)

================

• Instructor: James Wright
• This course focuses on the development of fundamental skills in the composition of original music. It aims to provide preparation for further composition studies in MUSI 3602 (Composition II) and MUSI 4906 (Honours Portfolio in Composition).
• The course is organized into 4 units comprising 3 distinctive sessions: (1) Lecture on material related to the current assignment (week 1, 4, 7, 10), (2) tutorials (week 2, 5, 8, 11), (3) presentations of works in progress (week 3, 6, 9, 12).

================

• Instructor: Paul Jasen
• An introduction to the theory and practice of electronic music creation. Lectures and in-class demonstrations will cover: principles of computer-based production, MIDI sequencing, synthesis, beat-making, mixing and sound design. Student projects will be completed during weekly, individual studio sessions using industry-standard applications (including Propellerheads Reason and Ableton Live). All of the above will be grounded in readings and class discussions about sound, audio technology, and studio practice. Students will be exposed to a broad range of musical styles.
• This course is open to students of all levels; prior experience with music software is NOT required and a process of learning-by-experimentation will be encouraged.
• Grading is based on two audio production assignments, an in-class quiz, and a short paper.
• Required text: Dennis DeSantis, Making Music Creative Strategies for Electronic Music Producers (hard copy or digital).
• 

================

• Instructor: Paul Jasen
• Computer-based music-making with an emphasis on the mixing and manipulation of recorded sound, collaborative strategies, and performance-oriented tools and techniques. Using Ableton Live Suite, student projects will explore sampling, remixing, audio processing, the use of hardware controllers in recording and live performance, and real-time musical collaboration using mobile technologies. Lectures and discussions will examine a broad range of musical styles and practices.
• This course is open to students of all levels; prior experience with music software is NOT required and a process of learning-by-experimentation will be encouraged.
• Grading is based on two audio projects (production and/or performance), and a short research assignment.
• Required text: TBA
• 

================

• Instructor: Jen McLachlen
• This course focuses on the progressive chromatic extension of diatonic harmonic language through the eighteenth, nineteenth, and twentieth centuries. Students will study the logic of common-practice harmony as a dynamic directing force, and the formal and structural principles that prevailed during the period, both through music analysis, and the development of skills in four-part writing.
• Evaluation: Regular assignments, attendance and participation, midterm and final exam.
• Text: TBA

================

• Instructor: Mark Ferguson
• This course is designed to give students fundamental knowledge and practical skills in the field of jazz and popular music as it has developed in North America.
• The course will have three areas of study: comprehensive harmonic theory, ear training and elements of musical improvisation.
• Students are expected to have theoretical knowledge equivalent to the first year theory courses MUSI 1701 and 1702.
• Evaluation: 1) Three take-home assignments (10% each), 2) Midterm exam (30 %). 3) Final exam (40%)

================

• Instructor: Susan Toman
• A practical study of rhythm, harmony and melody on the keyboard, with an emphasis on vocal and instrumental accompaniment and the development of improvisation skills in a variety of styles.
• Labs three hours a week
• Evaluation process: bi-weekly quizzes.
• Required text: Chord Play I, the Art of Arranging at the Piano, by Forrest Kinney

================

• Instructor: James McGowan
• Text: MUSI 2710 Course Pack, available in the bookstore in September.
• Instructor Statement: MUSI 2710A is a practical study of music as an aural phenomenon, and is a continuation of the course MUSI 1710. The course focuses on three primary areas of musicianship development: ear training (aural analysis and transcription of melodic and harmonic structures), solfège singing (sight reading and prepared performance), and keyboard harmony. In this way, students develop musicianship skills of both audiation—intentional listening and internalizing musical phenomena—and musical representation—in notation, analysis, singing, and keyboard playing. Sound materials are drawn from a range of sources, live and recorded.
• Evaluation: Ear training tests 40%; Sight singing and keyboard tests 35%; In-class and recorded performance projects 15%; Assignments 10%.
• Lecture Format: Two 1.5 hour lectures per week. A supplementary one-hour tutorial is offered per week, optional but highly recommended.

================

• Instructor: Kathy Armstrong
• A continuation of 1711, this applied rhythm course will immerse students in hands on activities that are designed to build facility with Western and non-Western rhythmic concepts and their practical applications. Through the continued use of the rhythmic solfege system Takadimi, students will learn to recognize rhythmic patterns and groupings. A fundamental element of the course will be participation in traditional music-making practices from West Africa.
• Evaluation: written tests, playing tests, written assignments, participation and attendance
• Required Text: Hoffman, Richard (2009). The Rhythm Book (2nd ed.). Franklin, Tennessee: Harpeth River Publishing

================

• Instructor: Michael Tremblay
• This course is designed to give musicians the necessary tools to help them with jazz improvisation. Although the course will focus on jazz, the techniques learned in this course will easily apply to all musical genres. No previous improvising experience is required. This course simplifies the harmonic process with the goal of providing the brain with only specific decisions to make while improvising. Students will learn how to filter multiple chord sequences into tonal and scalar centres. This is then combined with good voice leading techniques that students learn to approach in real time while improvising. Rhythmic groupings in simple and complex meters will be workshopped and applied to standard chord progressions and tunes.
• This course has three main goals
  1. to give students a working knowledge of basic improvising techniques
  2. to give students the ability to compose a written solo
  3. to allow students to workshop specific improv techniques in a live setting.
• Student evaluation is based on several weekly assignments, participation in two workshops (where students will work on improvising techniques in a live setting), final in-class exam consisting of one written solo.

================

• Music and the City
• Instructor: Mika Posen
• Cities around the world have recognized that a healthy music scene has the power to build community, generate economic activity, and change urban landscapes; the establishment of “Music City” policies and strategies has therefore become an increasingly popular goal for city officials as they endeavour to become the next Nashville or Austin. In this course, students will gain an understanding of the complex relationship that exists between culture and the economy of a city by examining case studies from aspiring “Music Cities” around the world. We will also take a close look at Ottawa’s own Music Strategy to assess the changes taking place in our own city and understand the challenges that face both musicians and cultural officials. As we explore the value of local culture, the connection between music and place, and issues concerning gentrification, we will consider both the effects of music-making on the city, and the effects of city policy on creativity.
• Evaluation: TBA
• Required Text: None

================

• Instructor: Antonio Llaca
• A study of romantic and contemporary opera through an examination of selected works from Weber’s Der Freischütz to Britten’s Peter Grimes, including an investigation of national styles from Wagnerian music drama and Italian verismo to Russian realism and German expressionism.
• Lectures three hours a week.
• Examination process: TBA
• Textbook: TBA

================

• Instructor: James Deaville
• also cross-listed as FILM 3402
• This course examines the historical use of music (and sound) in film, from the silent era to the present day, studying the techniques, styles and theory of film music through the examination of selected scenes.  We begin with a brief introduction to the technical aspects of film music, then chronologically and theoretically survey its history (the major portion of the course) and conclude with the consideration of such topics as music in Bollywood, films about music and music for television and animation.  Lectures are copiously illustrated with examples from films. Instead of a formal term paper, students will be required to write a 1500-word review of the music for one film, from a selection of four films determined by the class. Attendance at the weekly screenings is required.
• Evaluation: Midterm (30%), Final (35%), Review (25%), 2 scheduled quizzes (10%)

================

• Instructor: Paul Jasen
• An advanced workshop allowing students to pursue electronic music and technology projects that combine self-directed research with hands-on experimentation. Weekly meetings will include lectures and demonstrations, collaborative discussions, student presentations, and assisted production time. Student will have access to Ableton Live Suite/Max for Live, modular systems, hardware samplers and synthesizers, field recording equipment, and other tools. Projects may include (but are not limited to): original compositions, radical remixing, deep explorations of audio editing and digital signal processing, DIY/Maker approaches to electronic instrument- or interface-building, software development, interactive systems, experimental recording techniques.
• Grading is based on an audio/technology project to be approved in January, and workshopping contributions, including a presentation of research findings, group discussion of project plans, and progress reports.
• Required text: TBA
• 

================

• Instructor: Jen McLachlen
• Form and Analysis
• The purpose of this course is to develop a deeper understanding of musical forms from the Baroque Period to the 20th Century, and to further develop listening strategies and score reading through expanded means of critical thinking and logical reasoning. Upon completion of this course, students should be able to identify the following with or without a score: phrase endings and cadence types, modulations, sequence types, musical forms, and formal sections.
• Evaluation: Regular assignments, attendance and participation, midterm and final exam.
• Text: TBA

================

• Instructor: Mark Ferguson
• Techniques of composition and arranging for small and large ensembles will be studied through the examination of selected works drawn from the jazz repertoire. Works will be selected for stylistic and theoretical analysis and for exercises in aural recognition.
• This course is designed to give students fundamental knowledge and practical skills in the field of jazz music as it has developed in North America. Students enrolled in this course for credit are expected to have theoretical knowledge equivalent to the second year theory course MUSI 2701.

================

• Instructor: James Wright
• This course will cover basic topics in music psychology, acoustics and psychoacoustics, with an emphasis on those concepts that are most useful for understanding the physical and psychophysical dimensions of the auditory soundscape, and for performance, musicology, analysis and composition. A variety of disciplinary perspectives will be adopted to examine why and how humans make sense of music and respond to it sensorially, perceptually, cognitively, physically and emotionally.

================

• Instructor: Jesse Stewart
• This course will examine musical improvisation as both a theoretical practice and a practical theory. In addition to weekly discussion sessions that focus on selected texts drawn from the emergent field of improvisation studies, the class will engage in experiential forms of learning by actively improvising together. The discussion seminars will focus on a number of key issues related to improvisation including history/historiography, genre, race, gender, sexuality, pedagogy, disability studies, and more. The performance sessions will focus primarily on so called “free” improvisation; that is, improvised music that does not try to represent a particular musical genre in a sustained way. Instead, we will be free to draw on musical techniques and signifiers derived from virtually any musical tradition, incorporating them into the music that we create collaboratively in the moment of performance. Focusing on such modes of musical interaction will provide opportunities for participants to hone their listening skills and expand their musical vocabularies, two transferable skills that are of obvious value in any musical context.
• Evaluation will be based on participation, a listening test, an improv journal, two essays (one short and one long), and an end-of-term group performance.

================

• Instructor: Anna Hoefnagels
• In this course students examine various traditional music genres and practices in Canada. We will explore notable folk song collectors and collections, research agendas and priorities as well as contemporary expressions by music communities and individuals in Canada. Questions around the creation and contestation of nationhood and identity through music expressions will be examined as will the shifting priorities and issues addressed in academic scholarship and the music communities themselves.
• Seminar 3 hours per week.
• Evaluation of student work: Attendance and participation, weekly reading responses, creation of cuPortfolio, final exam.

================

• Cross-listed with MUSI 5016
• Instructor: Anna Hoefnagels
• This is a seminar course in which students examine historic and contemporary musical expressions by Indigenous peoples in Canada. Issues examined include identity politics, decolonization and the arts, ownership and sharing protocols, activism and politics, and intercultural and popular musics.
• Seminar 3 hours per week.
• Evaluation of student work: various presentations and assignments throughout the term, independent research project (including annotated bibliography, abstract, facilitating discussion of a selected article, presentation, research paper), engagement and presence in class.
• Evaluation of student work: Attendance and participation, weekly reading responses, research assignment, presentation and term paper, final exam

================

• Instructor: Kathy Armstrong
• This seminar course will examine African music from five different regions (west, north, east, south and central), using relevant readings, listening examples and hands-on methods. Issues relating to performance practices and social contexts will be discussed in both global and local scenarios.
• Evaluation: reading responses, midterm, presentation, term paper, participation and attendance
• Required Text:  TBA

================

• Instructor: Kelly Craig
• Introduction to Theories of Music Education
• At a point in many musicians’ careers they will be called on to teach. This class is an Introduction to theories and issues surrounding music education. Exploration of past and present musical pedagogies crossing genres. Hands-on participation of teaching approaches and philosophies including use of digital technologies and facilitative vs. behaviourist presentation methods for both group and private musical settings.

================

• Cross-listed with MUSI 5200
• Instructor: James Deaville
• Disability Studies has emerged in recent years as an interdisciplinary field that productively engages in the analysis of culture in its various manifestations. The arts are particularly well suited for such inquiry, given the rich and diverse history of interactions between literature, art, film and music with disability. This course will investigate the varied and complex intersections between music and disability in the past and present. Topics will include disability as metaphor, disability and musical performance, representations of disability in classical and popular music, and music and invisible and intellectual disability.
• Our primary text will be the Oxford Handbook of Music and Disability Studies, but other material will also be used.
• Primary determinants of grading are class participation and presentations and a major research essay.

================

• Instructor: William (called Terry) Tufts
• This course is designed to assist and motivate students to produce authentic, quality songwriting by exploring basic principles and diverse techniques of contemporary songwriting.   Art is subjective, therefore the outcome of the class will be less of an assessment-based process of critiquing content and more a path intended to inspire each student’s evolution as a writer.  However, participation, respect and effort will be rewarded with good marks.
• As the focus of this course will be more on the creative aspect of writing lyric and melody, looking for a successful formula combining lyric, cadence, melody, rhythm and relevance, little time will be spent on the business of music (although it will undoubtedly enter some of the discussions in class).  Goal-setting and self-evaluation will also be studied, as well as how to reach an audience as a performer.   As a requirement of the class, live performance will be expected.  If you feel uncomfortable performing in front of people, this course might not be for you.  Heavy emphasis will be placed on lyric writing, collaboration, collaboration, and collaboration.
• REQUIRED READING
• The student is required to seek out reading material suited to themself on the topic of songwriting, thoroughly read said work, and present what they have gleaned from their reading to the class.  The student must report to the class when they have selected a work so as not to duplicate someone else’s selection.
• SUGGESTED READING
• – Webb, Jimmy.  TUNESMITH – Inside The Art Of Songwriting.  Hachette Books
• – Braheny, John.  THE CRAFT AND BUSINESS OF SONGWRITING.  Writer’s Digest Books
• -Taylor, Livingston.  STAGE PERFORMANCE.  Simon and Schuster Pocket Books, New York, 2000.
• MARKING SCHEME
• This class is presented in a workshop format and requires participation and performance (either live, by vid, or audio file).  Marks are based on attendance and participation in class. Assignments will occasionally be given at the end of each session to be presented or reported on at the beginning of the following session.   At the end of the semester a presentation by live performance or submitted audio file or lyric of a completed piece will go toward the final grade.
• EVALUATION
• Discussion Participation 25%  Actively engaging in classroom discussion is critical. It is expected that all students will complete all assignments prior to class. Come to class prepared to raise questions and contribute to classroom discussion.
• Attendance & Attitude (focused in class) 25%  Showing up for class is essential. I-phones, internet allowed if in conjunction with the class or personal emergencies.  The devices may be utilized to make audio recordings and film footage.   It will be of great assistance if students bring their instruments to each session (if at all possible) or make use of the piano in the class room.
• Completed Assignments 25%  Assignments will occasionally be given at the end of each session to be presented or reported on at the beginning of the following session.
• Final Assignment 25%

================

• Instructor: Jesse Stewart
• This course encourages the development of individual compositional practice through an exploration of various musical and theoretical concepts associated with contemporary music composition. Classes will vary in nature, comprising of lectures, class discussions, student presentations, and musical performances. In addition to concepts associated with modern, postmodern, and experimental Western musical traditions, we will discuss systems of musical logic associated with non-western musics, jazz, and popular music idioms. Students are encouraged to draw on these resources in their term assignments. The course will be loosely structured around a three-phase process in which we will focus, in turn, on the interrelated roles of the composer, performer, and audience, and on the processes of transmission between them. In addition to the development of a personal composition methodology, students will be encouraged to situate their work among broader musical, social, and cultural trends, and to develop a critical theoretical framework with which to evaluate their own music.
• Evaluation will be based on individual composition assignments, a group project, a collaborative project with students in the Drama Studies program, and a final composition portfolio.

================

• Instructor: Mark Ferguson
• The art of arranging for small and large jazz ensembles is introduced through analysis of recordings by artists such as Duke Ellington, Fletcher Henderson, Count Basie, Rob McConnell, and Maria Schneider. Topics may include 2-, 3-, and 4-voice writing in a jazz idiom.

================

• Instructor: James Deaville
• This course is intended to serve as an introduction to the major intellectual trends relevant to cultural theory and their application to the study of music. Topics will include: Marxism, sociological theory, feminism and gender theory, race and post-colonial studies, and cultural studies. We will look both at the writings of cultural theorists and at musicological literature that bases its arguments on those writings.
• Students will be expected to keep weekly journals of readings, and the course will include a presentation, a final paper, and a take-home final.

================

• Instructor: Anna Hoefnagels
• This is a seminar course in which research methods used in the study of music and culture are explored, developed and applied to student research interests. Emphasis is placed on the practical considerations and applications of research methods, modeling the research stages and processes through student-led discussions and term work. Students will examine current themes in musicological research as evidenced in academic publications, societies and conferences, and consider ways that their research interests intersect with current scholarship. Students will also explore resources, issues, and ethical considerations in music and culture research, and through various assignments, reports and in-class participation students will also develop their writing, speaking and critical thinking skills. The course is designed sequentially, leading students through the processes involved in developing research projects, from the initial stages of topic consideration, proposal writing and the final stages of writing and presenting research results.
• Seminar 3 hours per week.
• Evaluation of student work: various presentations and assignments throughout the term, independent research project (including annotated bibliography, abstract, facilitating discussion of a selected article, presentation, research paper), engagement and presence in class.

================

• Instructor: William Echard
• This course will survey selected current issues in culturally-oriented musicology.
• Readings will be chosen based on student interests, established through email correspondence shortly after registration.
• Marks will be based on a mixture of weekly reading journals, a short essay, one semi-formal in-class presentation, and a medium-length end-of-term paper.

================

• Instructor: Jesse Stewart
• This graduate seminar will examine a variety of intersections between visual and sonic cultures as well as the ways in which meanings are often dependent upon relationships between the two. In so doing, the course will draw on concepts from a wide range of disciplines and viewpoints including not only music theory and musicology, but also cultural theory, music composition, cognitive psychology, visual studies, communication studies, art history, sociology, physics, and popular music studies to name a few. Topics to be considered include: the relationships between music and painting, synesthesia, musical instrument design, music notation, cymatics, sound art, album art, music videos, and more.
• Evaluation will be based on participation, class presentations, a creative project, and a final essay.

================

• Instructor: James Wright
• Whereas musicologists once understood music primarily in terms of static notated texts, over the course of the last thirty years the study of performance has emerged as a major new area within which a great deal of cultural activity can be explored, described and theorized. As a result of these developments, scholars concerned with the performing arts have found themselves in the midst of a vastly expanded theoretical and conceptual field. In related disciplines as disparate as business, economics, history, anthropology, semiotics, philosophy, linguistics, gender studies, recording technology, new media, sociology and psychology, music scholars have looked to the study of performance to account more fully for the dynamic interactions between culturally located agents that constitute the musical experiences they are attempting to analyze. In this course we will examine some of the issues that frame music as a form of practice rooted in traditions of performance and composition. We will also explore some of the factors which have contributed to the development of the role of the performing and composing musician in Western and non-western cultures, and the division of labour that has given rise to the roles which govern the production, distribution and consumption of music.

================

• Cross-listed with MUSI 4104
• Instructor: Anna Hoefnagels
• This is a seminar course in which students examine historic and contemporary musical expressions by Indigenous peoples in Canada. Issues examined include identity politics, decolonization and the arts, ownership and sharing protocols, activism and politics, and intercultural and popular musics.
• Seminar 3 hours per week.
• Evaluation of student work: various presentations and assignments throughout the term, independent research project (including annotated bibliography, abstract, facilitating discussion of a selected article, presentation, research paper), engagement and presence in class.
• Evaluation of student work: Attendance and participation, weekly reading responses, research assignment, presentation and term paper, final exam

================

• Instructor: Charles O’Brien
• Also cross-listed with FILM 5107
• Course description: The familiar characterization of cinema as a visual art has enabled a neglect of the cinema’s sonic dimension that endures into the present day, when key aspects of film sound continue to receive minimal attention from scholars of film and media. Such aspects provide the focus of this course, which examines film history from the standpoint of the role in cinema of music and sound. Topics covered include: major turning points in the history of the technology and aesthetics of film music and sound; the function on movie soundtracks of music relative to dialogue and ambient noise; sound’s role in the filmic representation of social difference, including gender and race; how popular songs function as film accompaniment in contrast to orchestral music; the treatment of sound in silent films versus sound; the history of film-theoretical reflection on music and sound; the history of cinema’s interface with cognate media such as recorded music, radio, television, and the internet; and the virtues and limitations of specific critical methods for film-soundtrack analysis.
• The main course requirements are likely to include the following: reading the weekly assignments and attending all lectures and screenings; completing an exam; submitting one or two papers; giving two short class presentations; and completing short, ungraded in-class writings.

================

• Cross-listed with MUSI 4200
• Instructor: James Deaville
• Disability Studies has emerged in recent years as an interdisciplinary field that productively engages in the analysis of culture in its various manifestations. The arts are particularly well suited for such inquiry, given the rich and diverse history of interactions between literature, art, film and music with disability. This course will investigate the varied and complex intersections between music and disability in the past and present. Topics will include disability as metaphor, disability and musical performance, representations of disability in classical and popular music, and music and invisible and intellectual disability.
• Our primary text will be the Oxford Handbook of Music and Disability Studies, but other material will also be used.
• Primary determinants of grading are class participation and presentations and a major research essay.

================