Archived: 2021-2022 Undergraduate Course Listings

• PROFESSOR: David Schroeder
• DESCRIPTION: This course provides students with a historical survey of Anglo-American popular music styles from approximately 1945 to the present. Significant artists and musical pieces will be examined, along with the sociological contexts in which these works were created. How various styles of popular music developed and evolved within a historiographic framework will also be considered. In addition, this course will consider popular music in relation to technology, audiences, culture and subcultures, race, gender, and sexuality.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: Kathy Armstrong
• DESCRIPTION: 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, South America, Asia and Pacific, Europe and the Middle East) using relevant readings, online discussion, and audio/visual examples.
• METHOD OF EVALUATION: Online Discussion Forum, Video Assignment, Written Term Project in Three Parts.
• READINGS:
• Titon, Jeff Todd (2018) Worlds of Music: An Introduction to the Music of the World (Shorter Version), fourth edition, New York: Cengage.
• This course will be delivered asynchronously.

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• PROFESSOR: Antonio Llaca
• DESCRIPTION: TBA
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: John Higney
• DESCRIPTION: Through lectures, readings, and assignments students are introduced to the history of western art music from the Middle Ages to the present. Although helpful, 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.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• John Higney
• DESCRIPTION: Through lectures, readings, and assignments students are introduced to the history of western art music from the Middle Ages to the present. Although helpful, 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.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: John Higney
• DESCRIPTION: 
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. The ability to read music is not required.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: Ryan Bruce
• DESCRIPTION: This course explores connections between popular music and culture since the beginning of the music industry. Listening to diverse styles will guide learning in musical and social contexts to critically think about our relationship with popular music. Some history is included but with a focus on topics related to production and consumption, and participation in musical cultures. We will study various texts (e.g., recordings, documentaries, assigned readings) to investigate issues such as new technologies, audience demographics, copyright, political economy, mass media, race, and sexuality. The ability to read music is not required.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: David Schroeder
• DESCRIPTION: MUSI 1107 involves the introductory study of principles and techniques in music theory as practiced in the western European tonal tradition. Topics to be covered include key signatures, time signatures, intervals, chord and scale formation, triads, seventh chords, and an introduction to the general principles of rhythm and metre. The course material will be supported with recorded, printed and performed musical examples. A diversity of musical examples will be studied from various genres. The importance of making the connection between the aural effect of music and the written form will be stressed.
• METHOD OF EVALUATION: Will involve assignments, exams and engagement.
• READINGS: Lambert, Philip. Principles of Music, 2nd Edition. New York: Oxford University Press, 2018. Staff paper, the textbook, a pencil and an eraser are required for every lecture.

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• PROFESSOR: James McGowan
• DESCRIPTION: MUSI 1700A involves the study of the principles, materials, and techniques of tonal music using music analysis, notation, and ear training activities. The course starts with an overview and review of music theory fundamentals, followed by a study of chords, rhythm, and melody, an introduction to the study of tonal counterpoint, and the combination of all these elements with a study of harmony and voice leading of diatonic tonal music. A variety of musical examples will be studied, including jazz, popular, world, and classical styles; students will be encouraged and guided to make critical and analytical connections between the music-historical and cultural traditions of the music we study and theories of the tools, practices, and compositional craft that underlie it. 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.
• METHOD OF EVALUATION: Assignments, Midterm Test, and Final Exam. No Essays.
• READINGS: Textbook is required (eBook version is recommended, or a hard copy that has access to publishers’ online materials): L. Poundie Burstein and Joseph N. Straus. Concise Introduction to Tonal Harmony. 2nd edition, W.W.Norton; and Required access to additional web resources. Workbook is not required.

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• PROFESSOR: Jen McLachlen
• DESCRIPTION: This course is a study of the harmonic, melodic, rhythmic and formal structures of music of the common-practice period, with emphasis on the development of analytical and written skills of diatonic music. Development and assessment of students’ theoretical understanding is achieved by the short harmonic exercises, the composition and harmonization of short musical phrases, and analysis of pre-existing music.
• METHOD OF EVALUATION: Burstein, L. Poundie, and Joseph N. Straus. Concise Introduction to Tonal Harmony, 2nd ed. New York: W. W. Norton. 2020.
• READINGS: TBD

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• PROFESSOR: James McGowan
• DESCRIPTION: MUSI 1710A is an introductory study of music as an aural phenomenon. This experiential 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.
• METHOD OF EVALUATION: Ear training assignments and unit tests, individual sight singing and keyboard assessments, assignments & projects. No essays. The final exam is just one of the unit tests.
• READINGS: Course Pack will be available free of charge on cuLearn; a hard copy may be available in the book store. Required access to additional free web resources.

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• PROFESSOR: Kathy Armstrong
• DESCRIPTION: 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.
• METHOD OF EVALUATION: skills tests, written and online assignments, group playing assignments, and attendance
• READINGS: Hoffman, Richard (2009). The Rhythm Book (2nd ed.). Franklin, Tennessee: Harpeth River Publishing

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• PROFESSOR: David Schroeder
• DESCRIPTION: This course explores the study of jazz music as a dynamic and culturally significant art form. Successful students will be able to identify key figures in the historical development of this music and aurally recognize various forms of jazz music. The historical, sociological, and aesthetic significance of various forms of jazz-related music will be examined. How these developments have shaped the art form in the contemporary setting will also be considered.
• METHOD OF EVALUATION: TBA
• READINGS: Gioia, Ted. The History of Jazz. New York: Oxford University Press. (1st edition; 2nd edition also acceptable).

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• PROFESSOR: David Schroeder
• DESCRIPTION: This course provides a cultural and stylistic overview of popular music styles in North America from colonial times to the mid-1940s. Students will learn to aurally recognize various forms of music generally defined as popular in music academia, and the sociological context in which the music was created will be closely examined. The successful student will gain an understanding of the historical and aesthetic significance of various genres of music as these styles developed. How these stylistic developments have shaped popular music in the contemporary setting will also be considered. Pre-recorded lectures three hours per week.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: David Schroeder
• DESCRIPTION: This course provides students with a historical survey of Anglo-American popular music styles from approximately 1945 to the present. Significant artists and musical pieces will be examined, along with the sociological contexts in which these works were created. How various styles of popular music developed and evolved within a historiographic framework will also be considered. In addition, this course will consider popular music in relation to technology, audiences, culture and subcultures, race, gender, and sexuality.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: Kathy Armstrong
• DESCRIPTION: 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, South America, Caribbean, Asia, Europe and the Middle East) using relevant readings, online discussion, and audio/visual examples.
• METHOD OF EVALUATION: Online Discussion Forum, Video Assignment,  Written Term Project in Three Parts
• READINGS: Titon, Jeff Todd (2018) Worlds of Music: An Introduction to the Music of the World (Shorter Version), fourth edition, New York: Cengage.

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• PROFESSOR: Carolyn Ramzy
• DESCRIPTION: This course is an introduction to the wide-ranging musical and cultural practices in the largest and most populated continent: Asia. We explore the incredibly rich and diverse traditions along the trading route of the Silk Road that not only saw the exchange of spices, goods, and silk, but also music and musicians. We ask questions about the sonic praxis of power, politics, and culture as we examine how classical and traditional musics interact, mixing to create new and globalized popular genres such as Indian bhangra, K-pop, J-pop, and many others.
• METHOD OF EVALUATION: Class participation, two listening responses, final paper, and final exam. 
• READINGS: TBA

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• PROFESSOR: John Higney
• DESCRIPTION: The Baroque era (c.1600-c.1750) represents a crossroads in the history of western art music. It is at once founded upon renaissance humanist re-conceptions of music originating in antiquity but it is also powerfully shaped by cultural, technological, and political forces that bear the undeniable marks of modernity. As with the Renaissance era that preceded it, the church and the absolute monarchial state are major patrons but the Baroque era also saw the increased involvement of the middle class. A complex interplay of competing cultural forces gave birth to a music that is seemingly contradictory as grand state spectacles coexist with intimate chamber music, extreme contrapuntal artifice occurs along side homophonic simplicity, and aristocratic exclusivity parallels growing middle-class musical involvement and tastes. Innovations in printing technology, the emergence of musical reportage and public criticism, the increased role of the theatre and public concerts move art music away from aristocratic private spaces into the public sphere. It is during the Baroque era that—like the present—music becomes as much commodity as it is culture. The ability to read music is not required but is useful.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: Matthew Emery
• DESCRIPTION: Introduction to the fundamentals of effective instrumentation and orchestration. All aspects of the various instruments of the orchestra and matters having to do with the practicalities of orchestration for string orchestra, chamber orchestra, and large orchestra will be studied.
• METHOD OF EVALUATION: Short assignments, and orchestration exercises (orchestrate a short piano excerpt for string orchestra)
• READINGS: The Study of Orchestration (4th edition) by Samuel Adler is required

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• PROFESSOR: James K. Wright
• DESCRIPTION: Introduction to theories and technicalities involved in original creative writing through the preparation of individual assignments; based in the practice of recent music in the Western Classical tradition while allowing for the music of other Western styles and traditions to be addressed.
• METHOD OF EVALUATION: Composition Assignments, Attendance/Participation, and Presentations of works in progress.
• READINGS: TBA

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• PROFESSOR: Samual Thulin
• DESCRIPTION: This course is an introduction to computer-based music creation using industry-standard software packages (including Ableton Live and VCV Rack). Lectures and in- class demonstrations will cover: sampling, synthesis, sequencing, rhythm programming, sound design, mixing and the use of MIDI. All of the above will be grounded in readings and class discussions about sound, audio technology, and studio practice. Studio tools and techniques will be discussed in relation to specific musical examples and their cultural context. 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.
• METHOD OF EVALUATION: Electronic music production projects, short paper assignment, workshop and forum participation
• READINGS: VJ Manzo & Will Kuhn, Interactive Composition: Strategies Using Ableton Live and Max for Live (e-book available from Carleton Library). Additional readings provided via Brightspace

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• PROFESSOR: Paul Jasen
• DESCRIPTION: This course focuses on computer-based music-making with an emphasis on the creation of original material and the reinvention of existing material, along with approaches to performance and ways of working together. Using Ableton Live, we explore: song creation and (re)mixing; sourcing, preparation, sharing and manipulation of audio material; and the use of hardware controllers in the studio and live performance. Lectures and demonstrations examine a broad range of musical styles and practices, while technical discussions are supplemented by rich musical examples. This course is open to students of all experience levels and musical backgrounds, and a process of learning-by-experimentation is always encouraged.
• METHOD OF EVALUATION: Audio projects, participation/workshopping and short written assignments.
• READINGS: TBA

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• PROFESSOR: James K. Wright
• DESCRIPTION: A continuation of the study of the harmonic, melodic, rhythmic and formal structures of music of the common-practice period and early twentieth century, with emphasis on chromaticism and the development of analytical and written skills.  The course will also include an introduction to post-tonal theory and analysis.  Examples studied will be drawn from classical music, pop music, film music, and (to a lesser extent) jazz genres.
• METHOD OF EVALUATION: Assignments, Midterm, Attendance/Participation, Final Exam
• READINGS: L. Poundie Burstein and Joseph N. Straus, Concise Introduction to Tonal Harmony, 2nd Edition (New York: Norton, 2020); PDF course pack (free of charge); Noteflight software.

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• PROFESSOR: Mark Ferguson
• DESCRIPTION: 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. Areas of study include ear training (melodic dictation, identifying chords and chord scales), harmonic theory, jazz composition and professional standards of music notation.
• METHOD OF EVALUATION: Two take-home assignments, mid-term exam, final exam.
• READINGS: There is no required textbook for this course.

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• PROFESSOR: James McGowan
• DESCRIPTION: MUSI 2710A is a practical study of music as an aural phenomenon, and is a continuation of the course MUSI 1710. This experiential 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.
• METHOD OF EVALUATION: Ear training assignments and unit tests, individual sight singing and keyboard assessments, assignments & projects. No essays. The final exam is just one of the unit tests.
• READINGS: Course Pack will be available free of charge on cuLearn. Required access to additional free web resources.

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• PROFESSOR: Kathy Armstrong
• DESCRIPTION: 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.
• METHOD OF EVALUATION: skills tests, written and online assignments, group playing assignments, and attendance
• READINGS: Hoffman, Richard (2009). The Rhythm Book (2nd ed.). Franklin, Tennessee: Harpeth River Publishing

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• PROFESSOR: Jeremy Strachan
• DESCRIPTION: In this course, we will explore aspects of popular music in Canada as they relate to larger social and historical issues that have shaped culture and identity in Canada. What makes a music ‘popular’? What makes a music ‘Canadian?’ We will focus on how larger questions of identity, genre, race, technology, gender, politics, colonization, and the like have contributed to the growth of popular musics at local, national, and international levels. Although we will spend the majority of our time examining popular music as it emerged in various manifestations in the mid-20th century to the present (rock, jazz, blues, electronic, rap, indie, etc), we will also consider music-making in the period of early contact and the nineteenth century as important precursors to the diverse strands of popular music that have shaped Canadian cultural history.
• METHOD OF EVALUATION: Essay, Presentation, Album/Concert Review, Participation
• READINGS: There is no course text. Readings will be available through course reserve or online.

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• PROFESSOR: Hooshyar Kahyam
• DESCRIPTION: A practice-based course on the techniques of improvisation in relation to different genres of music from modal music to contemporary/Ethnic Jazz and Fusion. Special emphasis on works of the great improvisors of the 20^th and 21^stcenturies.
• METHOD OF EVALUATION: Active performance-based participation (or demo recordings for online students), program notes and/or transcriptions in special areas of interests.
• READINGS: Listening samples and excerpts from the repertoire, score study of contemporary works embedding improvisation. Further reading will be assigned based on special needs and areas of interest for each individual student. All listening excerpts and reading samples will be entirely chosen from online resources free of charge.

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• PROFESSOR: Gunnar Iversen
• DESCRIPTION: In this course, we will explore a vibrant new field of study in Film and Media Studies and consider the ways in which sound affects our lives and our perception of the world as well as audiovisual media. In this class, we will discuss questions about sound in film and television. What is sound and in what ways does it affect us? What is the relationship between sound and image in audiovisual media? How is sound used to tell stories in fiction films and drama series, and how is sound used to argue about the world in documentaries and factual television? How has technology shaped the representation of sound in film and television? In what ways do sound affect our experience of actual or fictional worlds, characters and narratives? In recent years, sound studies has emerged as a vital area of study and practice at the crossroads of the humanities and sciences, and some even talk about a ”sonic turn” or a ”sonic boom”. However, most studies of audiovisual media still put the emphasis on visual aspects, and only briefly discuss sound in itself, and the interplay between sound and image is not discussed to the extent it should. Together, in this course we will discuss the questions about sound and image, and explore sound as a component of audiovisual media, as a domain of artistic expression, and as a component of perception and cognition crucial to human communication.
• METHOD OF EVALUATION: Essays
• READINGS: All readings will be available on ARES or on Brightspace.

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• PROFESSOR: Golam Rabbani
• DESCRIPTION: This course will explore the film music of the world while focusing on the issues of colonialism, decolonization, diversity, race, gender and sexuality, and nationalism. We will study the film music of Hollywood, Bollywood, and African and East Asian films. Course participants will begin the course learning about film music’s theoretical and stylistic issues and then focus on different social and identity issues expressed through the film music of different continents. Along with weekly readings, watching films, and identifying film music themes, this course will ask participants to be actively involved in classes and activities based on Brightspace. Lectures will primarily focus on examples of film music. Any second-year standing student can enroll in this course. Background in film or music is not required.
• METHOD OF EVALUATION: The course will assesses participants’ critical and theoretical thinking through the weekly discussion response, midterm and final paper, presentations, and in class activities.
• READINGS: All readings will be available on ARES and Brightspace. There is no specific course-text for this course.

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• PROFESSOR: Allyson Rogers
• DESCRIPTION: This course is a historical survey of concert music in Europe and North America between ca. 1885 to ca. 1950. We will study representative styles, compositional techniques, and genres from this period while considering the intersection of race, class, gender, and sexuality in the production, circulation, and reception of this music. Students will develop critical listening skills, a vocabulary for discussing musical elements, an understanding of the social and aesthetic history of an array of 20th century music, and reflect more broadly on the role of music in society.
• METHOD OF EVALUATION: Individual and group assignments, take-home midterm, and final paper.
• READINGS: Course materials will be available on Brightspace.

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• PROFESSOR: Jen McLachlen
• DESCRIPTION: This course encourages the development of individual compositional practice through an exploration of various musical and theoretical concepts. Classes will vary in nature, comprising of lectures, class discussions, student presentations, and musical performances. Course content will be delivered online in a blend of synchronous and asynchronous activities via Zoom.
• METHOD OF EVALUATION: Student evaluation will be based upon active participation, numerous smaller composition assignments, and one larger composition project.
• READINGS: TBD

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• PROFESSOR: Samuel Thulin
• DESCRIPTION: 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, VCV Rack, 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.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: Mark Ferguson
• DESCRIPTION: 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, for exercises in aural recognition, and for composition and arranging purposes. There will be an ear-training component involving melodic dictation and recognizing and notating jazz chords and chord scales.
• METHOD OF EVALUATION: Two listening/ear-training tests, two composition assignments, one arranging assignment and final exam.
• READINGS: There is no required textbook for this course.

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• PROFESSOR: Anna Hoefnagles
• DESCRIPTION: Through various case studies, this course examines the diversity of musics found in Canada and the ways that music facilitates belonging and/or exclusion to community. We engage with critical analyses of diversity and multiculturalism narratives in Canada and the ways that settler-colonialism influenced and continues to inform musical priorities and expressions.
• METHOD OF EVALUATION: Weekly reading assignments, participation in classroom discussion, presentations, independent research project.
• READINGS: The majority of readings will be drawn from Contemporary Musical Expressions in Canada, edited by Hoefnagels, Klassen and Johnson (2019).

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• PROFESSOR: Terry Tufts
• DESCRIPTION: This course is designed to assist and motivate students to produce authentic, quality songs by exploring basic principles and diverse techniques of contemporary song writing.   The format presented includes lectures on tools of the trade, songwriter sweatshops (Tinpan Alley) requiring students to write for various genres, utilizing a verse / pre-chorus / chorus / bridge structure.  Heavy emphasis is placed on lyric and melodic variation
• METHOD OF EVALUATION: TBA
• READINGS: There are no required texts for this course.

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• PROFESSOR: Carolyn Ramzy
• DESCRIPTION: This Special Topics course has three interrelated goals: 1) Drawing on a selection of readings from the discipline of anthropology and ethnomusicology, advanced undergraduate students will get an introduction to digital ethnographic methods for primary and ethnographic research online; 2) students will examine and discuss various virtual soundscapes and sound cultures of the Covid19 health crisis through an ethnomusicological and anthropological perspective; 3) Students will have structured support to create their own digital ethnographic research project over the course term. By the end of the course, all students will have a working knowledge and experience of digital ethnographic methods, as well as the familiarity with anthropological and ethnomusicological approaches to virtual sound cultures.
• METHOD OF EVALUATION: Class participation, weekly responses, final term project, final presentation
• READINGS: TBA

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• PROFESSOR: Alberto Munarriz
• DESCRIPTION: This survey focuses on a number of key music expressions from Latin America. We will look at the history of these practices paying particular attention to the dialogues, events, and narratives that have shaped their multiple realities. Our discussions will be framed by a series of concepts of particular significance in the Latin American context such as diaspora, colonialism, mestizaje, hybridity, migration, and globalization.
• METHOD OF EVALUATION: Two exams 40%, Short reaction papers 25% (5 x 5%), Small assignments and online discussion 10%, Final paper 15%, Class participation/attendance 10%.
• READINGS: There is no textbook for the course. All readings and audiovisual materials will be available online or at the Macodrum Library.

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• PROFESSOR: Artist in Residence, Christine Duncan
• DESCRIPTION: The Voice as Instrument: Vocal Exploration and Improvisation
• METHOD OF EVALUATION: This experiential learning course will focus on developing an expanded musical vocabulary through individual and group vocal improvisation, and exploring material for experimental choir. The course is designed for both voice students and non-voice majors.
• READINGS: TBA

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• PROFESSOR: Ellen Waterman
• DESCRIPTION: Made in Canada, eh? But what does that mean when we look beyond top-40 music charts? How do contemporary creative musical and sonic practices contribute to dialogue on major social and cultural themes like anti-racism, decoloniality, cultural diversity, gender expression, and equitable participation? How do Canadian musicians and sound artists animate local, national, and international music scenes?  This course examines innovative, contemporary musical and sonic creative practices in Canada across diverse genres from art to jazz to pop, including their intersections with technology, movement, text, and visual media. “Creative practice” highlights the processes involved in composition, improvisation, and performance. With an emphasis on creative practice as social practice, we will take an intersectional approach to analyzing the sociality of music and sound art in the Canadian context.
• METHOD OF EVALUATION: Evaluation will be based on participation, seminar presentations, and a major assignment. Students will learn about practice-based research methods and will have the opportunity to do a creative project for their major assignment. Historical or analytical papers are also welcome.
• READINGS: Course materials will be available on Brightspace and online. Close listening/viewing is as important to the course as readings.

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• PROFESSOR: Wayne Eagles
• DESCRIPTION: The guitar is an ancient instrument with a history that can be traced back over 4000 years. We will look at the theories advanced relating to the instrument’s ancestry, as well as guitar-specific music created over its long history. In addition to covering the instrument’s evolving design and development, the course will examine many of the important composers and players prevalent over myriad musical genres. Fundamental, established pedagogies will also be discussed. Exploring a range of cultural traditions, the course will highlight music from earliest examples to more formal concert music though many popular music styles. The course will delve into the earliest acoustic through contemporary electric and current digital design.
• METHOD OF EVALUATION: TBA
• READINGS: All included in the Course Syllabus to be discussed at first meeting. All on reserve, accessible on the MacOdrum Library website. Some suggested, but no required, textbook.

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• PROFESSOR: James McGowan
• DESCRIPTION: The primary objective of this course is the development of writing skills and knowledge of tonal counterpoint. While we will focus on the practice of 18th-century counterpoint, as manifest in the work of J. S. Bach, we will also explore counterpoint practices in jazz and other practices of the last 100 years, in a range of composers. While not a full composition class, students will be writing music by emulating models of contrapuntal techniques. Other activities will include music analysis and close study of selected works. No previous experience in composition is necessary, but it is recommended that students have completed MUSI 2700.
• METHOD OF EVALUATION: Quizzes 20%; 4 Assignments (music writing and analysis) 50%; and final fugue project (composition and analysis) 30%.
• READINGS: TBA

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• PROFESSOR: Kristeen Franseen
• DESCRIPTION: Western classical music from the medieval period to the present. Major historical periods (Medieval, Renaissance, Baroque, Classical, Romantic, Modern, Postmodern) are examined through representative music ranging from Gregorian chant to contemporary experimental trends. This class will focus on introducing and developing active listening and reading skills in relation to the history of western classical music, as well as the ability to read and write critically about written and aural sources and the contexts for musical creation, performance, and study. While we will focus on a few selected examples of genres, works, and people in the lectures and workshops for each time period, there will be some opportunities for further study on relevant topics of your choice.
• METHOD OF EVALUATION: Evaluation will be conducted via short listening quizzes, take-home midterm and final exams, and an end-of-term listening/research activity.
• READINGS: There are no required textbooks for this course. Assigned reading and listening materials will be provided. Readings will be drawn from various historical sources (composers’ letters, contracts, diaries/memoirs, and essays, as well as firsthand accounts of historical performances), musicological blogs (including Not Another Music History Cliché and The Avid Listener), and excerpts from relevant musical scholarship.
• DELIVERY METHOD: Mixed

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• PROFESSOR: Ryan Bruce
• DESCRIPTION: This course explores connections between popular music and culture since the beginning of the music industry. Listening to diverse styles will guide learning in musical and social contexts to critically think about our relationship with popular music. Some history is included but with a focus on topics related to production and consumption, and participation in musical cultures. We will study various texts (e.g., recordings, documentaries, assigned readings) to investigate issues such as new technologies, audience demographics, copyright, political economy, mass media, race, and sexuality. The ability to read music is not required.
• METHOD OF EVALUATION: TBA
• READINGS: TBA
• DELIVERY METHOD: Asynchronous

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• PROFESSOR: Jesse Stewart
• DESCRIPTION: This course examines selected aspects of the history of North American and British popular music from roughly WWII to the present day. Beginning with a discussion of 1940s country and western, rhythm and blues, and mainstream pop, the course will follow these traditions as they combine and influence one another to form rock and roll and its derivatives beginning in the 1950s, with attention paid the social and cultural contexts that shaped–and were in turn shaped by–popular music trends.
• METHOD OF EVALUATION: Weekly assignments; final essay; final exam
• READINGS: No textbook
• DELIVERY METHOD: Asynchronous

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• PROFESSOR: Kathy Armstrong
• DESCRIPTION: 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, online discussion, and audio/visual examples.
• METHOD OF EVALUATION: Online Participation Forum, Written Term Project in Three Parts.
• READINGS: Titon, Jeff Todd (2018) Worlds of Music: An Introduction to the Music of the World (Shorter Version), fourth edition, New York: Cengage.
• This course will be delivered asynchronously.

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