Archived: 2019-2020 Undergraduate Course Listings

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.

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Instructor: John Higney
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.
Course work consists of in-class listening quizzes (typically three), midterm and final examinations, and writing assignments.
Textbook TBA

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Instructor: John Higney
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.
Course work consists of in-class listening quizzes (typically three), midterm and final examinations, and writing assignments.
Textbook TBA

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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.
Course work will include midterm and final exams and an essay length written assignment. Other written work TBA. The ability to read music is not required or expected.
Textbook TBA.

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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.
Course work will include midterm and final exams and an essay length written assignment. Other written work TBA. The ability to read music is not required or expected.
Textbook TBA.

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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.

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Instructor: James McGowan
New Text: L. Poundie Burstein and  Joseph N. Straus, Concise Introduction to Tonal Harmony. W.Norton, 2016.Only Textbook is required. (Workbook is 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.
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.
in each of these units, introductory ear training will be learned/reviewed.

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)

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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

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Instructor: Jen McLachlen
The purpose of the course is to develop a “seeing ear” and a “hearing eye.” Over the course of the<br />
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<br />
improves your ability to sight-read on your instrument; dictation facilitates error-checking,<br />
transcription, and a host of other activities.
Evaluation: Regular assignments, attendance and participation, midterm and final exam.
Text: TBA

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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

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Instructor: John Higney
This course investigates jazz from its origins up to the present. Students will engage jazz musics and cultures in the contexts of history; space, place and geography; politics and economy; race and racialization; aesthetics; literature, visual arts and the moving image; gender and sexuality; musical styles, forms, and genres, compositional and improvisational practices styles and practices; significant practitioners; and, technologies, media, and industry.
Course work consists of in-class quizzes (formats TBA), midterm and final examinations, and writing assignments. The ability to read music is not required or expected.
Textbook TBA.

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Instructor: William Echard
This course provides students with an historical survey and stylistic analysis of the development of Anglo-American popular music from colonial times through the first half of the twentieth century. The course will emphasize both the changing historical circumstances in which popular music was created and appreciated, and the changing characteristics of the music itself.
Evaluation: Ongoing reading journal, two essays, final exam.
Required Text: Readings will be posted to cuLearn.

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Instructor: William Echard
This course provides students with an historical survey and stylistic analysis of the development of Anglo-American popular music in the second half of the twentieth century. The course will emphasize both the changing historical circumstances in which popular music was created and appreciated, and the changing characteristics of the music itself.
Evaluation: Quiz, two essays, final exam.
Required Text: None

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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.

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Instructor: Alexis Luko
Have you ever wondered what kind of music inspired people in the time of William Shakespeare, Leonardo Da Vinci and Martin Luther?
This course brings to life a period when music played a vital role in lavish courts, grand cathedrals, and vibrant cities. Students will learn about social, political, religious, and institutional contexts that shaped the music of the era (ca. 1400-1600). Musical works will be examined in the context of power, patronage, religion, gender, violence and love, manuscript and print culture, memory, improvisation, notation, rhetoric, literacy, musical borrowing and innovation. The course opens a window to the music itself, and also makes interdisciplinary linkages to the literature, art, philosophy, and architecture of this humanist period.
Evaluation: small assignments, final paper, listening quizzes, midterm and final exam. Lecture Format: two lectures per week (1.5 hours each)
Prerequisite: Second-year standing. Non-music students welcome!
Textbook: T.B.A.

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Instructor: Ellen Waterman
Music changed rapidly throughout the twentieth century and what we commonly think of as “classical” or “western art music” is no exception. In this course, we will explore musical works and performance practices in the context of musical innovation, social change, political upheaval, and stylistic pluralism in a rapidly changing “modern” world. In addition to listening to some seriously exciting music, we will explore its relationship to literature, film, dance, and visual art. The course will take a critical, themed approach rather than the standard narrative and ask the question: how did this century of musical innovation affect music in our own time?
Evaluation will include critical reflections on course content and a major project/paper.
We will use a set of readings, and links to video and sound resources instead of a textbook.

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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:

Three take-home assignments (10% each)
Individual oral presentation (10%)
Midterm exam (15%)
Final exam (20%)
Final orchestration assignment (25%)

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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).

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Instructor: Dr. 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, including: synthesis, sampling, MIDI sequencing, mixing, sound design and interactivity. Student projects will be completed during weekly, individual studio sessions using Ableton Live Suite/Max for Live and other tools. 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 equipment: studio headphones (details to be provided).
Required text: TBD

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Instructor: Dr. 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, including: synthesis, sampling, MIDI sequencing, mixing, sound design and interactivity. Student projects will be completed during weekly, individual studio sessions using Ableton Live Suite/Max for Live and other tools. 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 equipment: studio headphones (details to be provided).
Required text: TBD

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Instructor: Dr. 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/Max for Live, student projects will explore beatmaking, sampling, remixing, creative audio processing, modular techniques, generative systems, and the use of hardware controllers in recording and live performance. 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 equipment: studio headphones (details to be provided).
Required text: TBD

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Instructor: James Wright
Required Texts (available in the bookstore)

TEXT: Jane P. Clendinning and E. West Marvin, The Musician’s Guide to Theory and Analysis 2^nd or 3^rd edition (New York: Norton, 2011)  ISBN: 9780393930818
WORKBOOK: Jane P. Clendinning and E. West Marvin, The Musicians Guide to Theory &amp; Analysis, 2nd or 3^rd edition (New York: Norton, 2011). ISBN: 0393931323
ANTHOLOGY: Jane P. Clendinning and E. West Marvin, The Musicians Guide to Theory &amp; Analysis, 2nd or 3^rd edition (New York: Norton, 2011). ISBN: 9780393931341

Instructor’s Statement:This course focuses on the progressive chromatic extension of diatonic harmonic language through the eighteenth, nineteenth, and twentieth centuries.  Both classical and popular music examples and idioms will be examined, though the former will be emphasized.  The course material will be supported with aural and printed musical examples, as well as supplemental materials.  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.  Lectures, listening, demonstrations and discussion, complemented by individual take-home assignments and mid-term and final examinations, form the basis of the pedagogical style and method of assessment.  Students must bring staff paper and a pencil, as well the workbook and anthology to all lectures.  Principal areas of study include the following:

A review of the fundamentals of diatonic harmony and voice-leading
Mid- to late-nineteenth-century harmonic practice
Chromaticism, modulation, mode mixture, etc.
Principles of phrase-structure, form, formal function, Sonata Allegro Form
Fundamental principles of Schenkerian reductive technique
Late nineteenth-century dissolution of tonality, Introduction to post-tonal Theory

Evaluation: regular take-home assignments, participation/attendance, midterm exam, and final exam.
Lecture Format: two weekly 1.5 hour lectures (0.5 credits), plus an optional tutorial

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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%)

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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/exam 44%; Sight singing and keyboard tests 24%; In-class and recorded solfege-singing projects 16%; Assignments and/or collaborative practice of skills 16%.
Lecture Format: Two 1.5 hour lectures per week. A supplementary one-hour tutorial is offered per week, optional but highly recommended.

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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

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Instructor: Wayne Eagles
Students in this course learn about the great variety of music that is found in Canada, including “world” music, Indigenous music, popular music and art music. Students will develop an understanding of the impact of colonialism on music practices and institutions in Canada and they will query notions of identity and nationalism.
Lecture 3 hours per week
Evaluation of student work: weekly readings and discussion, creation of cuPortfolio, midterm and final exams.

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Instructor: William Echard
This course provides a stylistic and cultural history of major popular music styles, genres, and artists in Canada. We will also consider various cultural theory issues connected to the question of how to study music and musical practices in a national context.
Evaluation: Ongoing reading journal, two essays, final exam
Required Text: Readings will be posted to cuLearn.

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Instructor: Kathy Armstrong
This course is an introduction to Popular Musics of the World, investigating music from several different geographical regions. Related issues will be explored, such as identity, fusion, resistance, authenticity, migration and placelessness. Special attention to the interaction between some world popular musics, the record industry and the internet.
Evaluation: reading responses, mid-term quiz, group presentations , term paper, participation and attendance
Required Text: TBA

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Instructor: Carolyn Ramzy
Course Description: In the past four years, globalization, new communication technologies, and a shifting youth culture have made the Middle East and North Africa the site of tremendous change. In this course, we investigate the religious, classical, and folk music traditions that have propelled and accompanied these transformations known as the “Arab Spring.” We will listen, watch, and analyze how many traditional practices in the region have quickly reconfigured as urban traditions in popular spheres, including an eclectic mix of Algerian rai, Tunisian and Libyan electronic hip-hop, Egyptian nationalist pop songs, as well as Palestinian and Israeli rap, among many others. We will explore questions of identity politics, globalization, nationalism, and governance through the lens of sound studies, anthropology, and ethnomusicology. Our studies will be framed by the question: how does Middle Eastern music echo, shape, and mirror our own North American soundscapes and experiences?
Student Evaluation: Film response papers, mid term, and final exam
Lecture Format: One lecture per week (3 hours)

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Instructor: Carolyn Ramzy
Course Description: This course examines the integral role music plays in religion and sacred ritual in different world cultures and religions. Following a general introduction to key definitions and to various theoretical approaches to the study of music and religion, we will explore various case studies from around the world including: Hindu sacred drama, Buddhist monastic chant, the Islamic call to prayer, Sufi trance and mysticism, and Christian liturgy and worship in a cross-cultural and interdenominational perspective. As we explore these cases, we will broadly consider the following questions: what role does chant, music, or sounded devotional worship play in connecting people to a higher realm/God and to each other? How do these sacred soundscapes shape people’s worldviews, identities, and day-today lives outside of worship? Course sessions will include close and critical discussion of selected texts, the analysis of audio-visual examples, as well as visits to local worship sites to attend religious services.
Student Evaluation: Class participation, reading reflections, final paper, and final presentation
Lecture Format: One lecture per week (3 hours)

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Introduction to Music Therapy*
*  This course is an introduction only and does not qualify students who have taken it, to practice in the field of music therapy
The objective of this course will be to introduce the student to three elements of music therapy ––literature, practice and theory. The sections will be intermingled so that in each three-hour class, there will be a taste of all three elements with a large emphasis on the experiential. **
Several areas of practice will be surveyed along with their use with various populations or people who would receive this treatment. We will be looking at the use of music with children and adults with special needs, people in long term care, people with neurological disorders, in palliative care and others. Some examples of intervention that students will be introduced to are instrumental improvisation, vocal improvisation, lyric improvisation, the use of song, therapeutic song writing and receptive music therapy
**Please be sure that you are comfortable with concrete exploration of music as a way of learning about the self. The effects of improvisation, song writing, lyric analysis and other techniques will be experienced.
Readings

Bruscia, K. (2014) Defining Music Therapy. University Park IL: Barcelona Publishers.

<i>An electronic course pack will be provided for readings specific to weekly topics.</i>

Instructor: Nicola Oddy
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Instructor: Paul Théberge
cross-listed as COMS 3404
The music industries have experienced tumultuous change during past twenty years: for many, the industry, today, is hardly recognizable.  This course will examine the structure and operation of the contemporary music industries and attempt to put them into historical perspective: our basic operating assumption will be that there is something to be learned when we consider Edison and Spotify together, vinyl and mp3’s, MTV and YouTube.   We will consider the multiple histories of live touring, recording, radio, television, and the internet as both technologies and complexly related cultural forms.
There is no textbook for this course; readings will be posted on cuLearn.
Assignments/Grading: participation, mid-term and final papers, and/or the option of a brief recording project depending on individual interest (this option will be discussed in the first class).

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Instructor: Nicole Presentey
Considered to be the most intimate form of musical expression, Chamber Music continues to evolve in Western art music from its origins during the Renaissance period until today. From the most private personal settings to larger public spaces, the small ensemble is a vehicle for personal expression and dialogue; no leader, no dominating virtuosic display dilutes the companionship of the players in this one-to-a-part setting.
Formed by every available instrument or voice current at the time and subject only to the composer’s imagination, infinite musical colour combinations ensue. At its fullest expression, the string quartet comprising two violins, viola and cello becomes the favoured formation of composers due to the ability of these highly adaptable instruments to resemble the range of the human voice and their four-part harmony. Over centuries, this “Fellowship of the Strings” has allowed composers to express the deepest of emotions, beyond anything other than the immediacy of the human vocal range.
In this course we will explore the development and evolution of the string quartet along with other formations from duo to octet from earliest times until today.
The historical and cultural context, as well as performance practise and instrumental developments over time inform and shape this most democratic form of communication, showing that spontaneous and meaningful exchange remains relevant today as a means of sharing and elevating human expression.

Course work includes in-class listening with quizzes, concert review and final examination.

Textbook TBA
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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 is structured around four composition assignments throughout the term and one final project.

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Instructor: Dr. 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, 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.
Required equipment: studio headphones (details to be provided).
Required text: TBD

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Instructor: Antonio LlacaBuznego
Introduction to the practice of conducting Instrumental music from the Classical era to the present as well as to a variety of practical techniques (rehearsal techniques, gesture, conducting patterns, score study, etc.).
<li class=”coursedescadditional”>Includes: Experiential Learning Activity
Readings: TBA

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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.

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Instructor: Jesse Stewart
Cross-listed with MUSI 5010
The past two decades have witnessed a tremendous expansion in the range of intellectual conversations surrounding the musical practices commonly associated with the term “jazz.” In this combined fourth-year undergraduate and graduate level seminar, we will examine a variety of key issues in the study of jazz including jazz history/historiography, race, gender, class, politics, nationality, improvisation, performance, analysis, meaning, and more. By critically examining the ways in which these issues have intersected with “jazz” (broadly construed), we will explore jazz not only as a form of musical discourse, but also as a site for community building, identity formation, civic dialogue, and political action.
Readings TBD.
Evaluation will be based on participation, in-class listening tests, student presentations, and a research essay.

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Instructor: Jesse Stewart
This semester, MUSI 4006 will focus on hip hop music and cultures, examining their changing aesthetic and political foundations over the past four decades. In addition to the musical, visual, sartorial, kinesthetic, and spoken word components of hip hop, we will examine the crucial roles that hip hop has played—and continues to play—in processes of identity formation in diverse cultural locations. We will therefore be considering issues such as race, place, class, gender, and sexuality as they shape (and are, in turn, shaped by) hip hop culture, as well as the impact of the culture industries and mass media on hip hop and representations thereof.
The textbook for the course will be Jeff Chang’s Can’t Stop Won’t Stop: A History of the Hip-Hop Generation as well as selected essays TBD.

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Instructor: Alexis Luko
Welcome to a world of magical swords, dragons, love potions, giants, horned Valkyries. . . and powerful music!  Conquer your fears and join Dr. Luko for an unforgettable experience as she guides you through the musical realms of Richard Wagner.
Wagner revolutionized opera with his idea of the Gesamtkunstwerk – unifying music, poetry, staging, acting, and scenic design. This course will explore how Wagner’s aesthetic theories, reforms, and politics were actualized in his operatic works. We will examine three of Wagner’s early operas (The Flying Dutchman, Tannhäuser, and Lohengrin), two of his later “music dramas” (Tristan and Isolde, The Mastersingers of Nuremberg), and excerpts from Parsifal and his tetralogy, The Ring of the Nibelung.
Wagner’s writings and letters will help us understand the often problematic relationship between his music and aesthetic theories, while in-class viewing of key opera scenes will set up discussion of modern-day staging and interpretation. A variety of historical and critical perspectives will be used with special emphasis on: Romanticism; gender and sexuality; reception (fandom and the Wagner legacy); religion; criticism (Nietzsche, Adorno, Mann, Syberberg); musical composition (gesamtkunstwerk, leitmotif, orchestration); politics (German nationalism, Wagner’s antisemitism, and the Nazi adoption of his music); theatrical/filmic interpretation; and cinematic quotation (from Apocalypse Now, Bugs Bunny and Birth of a Nation).
Evaluation: weekly reading and listening/viewing, participation, presentation, final paper, final exam, and a fieldtrip to view the Metropolitan Opera HD broadcast of The Flying Dutchman at the cinema.
Textbook: T.B.A.
Prerequisite(s): MUSI 1000 and MUSI 1700 and at least one from MUSI 2100, 2101, 2102, 2103, 2104, 2105, or 2106. OR Permission of Instructor.

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Instructor: Rebecca Draisey-Collishaw
In this course students examine various issues in ethnomusicoogical research while engaging in an ethnographic project in which they apply field research techniques including documenting a musical performance, interviewing a musician and ethnographic writing. Students will develop a greater awareness of the music cultures that exist in the Ottawa area through direct experience with musicians and music communities.
Seminar 3 hours per week.
Evaluation of student work: weekly readings and discussion, presentations and written assignments based on students’ individual research project.
Textbook: Nettl, Bruno. The Study of Ethnomusicology: Thirty-One Issues and concepts, 2^nd edition, Urbana: University of Illinois Press, 2005.

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Instructor: Jamaal Jackson Rogers
Topic: Developing your own voice: The Power of Music and Spoken Word

This course explores the history, influence and impact spoken word poetry has had on contemporary arts and culture through a musical context. The course will require students to dissect the intersectional practices of music and performance poetry while developing an understanding of how both artistic platforms engage the artist to discover the value of forging their unique voice with authenticity and power.
Students will be evaluated through quizzes, musical presentations, and an end of term project.

Winter Term Wednesdays 2:30-5:30 Loeb A916 (Studio B)
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Instructor: 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 &amp; 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%

Topic: Song Writing<br />
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Diction Techniques
A performance class for singers (any genre) and pianists with focus on diction. Learn the fundamentals of performing classical voice repertoire, by gaining understanding of the basics of pronunciation in English, French, Italian and German, through the International Phonetic Alphabet.   This class will be in masterclass format where all the students will have the chance to perform regularly.  Open to all years.
Evaluation Process:  TBA
Required Texts:  TBA
Instructor: Maghan McPhee
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Instructor: 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&#8217;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.
Course evaluation:

Midterm (short answer &amp; essay question) 30%
30-45 minute Presentation or 2500 word Essay 40%
Final Exam (short answer &amp; essay question) 30%

Suggested Texts: To be outlined in course syllabus and discussed at first meeting.

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Instructor: James Deaville
A seminar course, devoted to studying the music that accompanies our lives as we engage in everyday activities, whether in exercise (aerobics class), shopping (malls), eating (ethnic restaurants), entertaining ourselves (background music in media), or using our phones (alarms, ring tones). And these are just a few examples of the music that has become the “soundtracks of our lives,” music that we daily absorb without paying attention to it and yet that somehow participates in the construction of our individual and corporate identities. We will explore these and other such types of “ubiquitous musics” (Kassabian 2013) in light of the following questions: What is the music like? How does it function? What does it mean to us (and to others)? In answering the questions, the course will consider the music itself and literature that illuminates the music’s social and cultural contexts and meanings.
Marked work for the course will include a term paper, student presentations, a few minor assignments, a take-home final, and student participation.

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Instructor: James McGowan
Text: TBA
Instructor Statement: The primary objective of this course is the development of writing skills and knowledge of tonal counterpoint, particularly as found in the 18th century and manifest in the work of J. S. Bach. While not a full composition class, students will be writing music by emulating models of contrapuntal techniques of the late Baroque, as well as more recent approaches. 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.
Evaluation: 1 Tests 20%; 1 Quiz 10%; 4 Assignments: music writing and analysis 40% (10% x 4); and final fugue project (composition and analysis) 30%.

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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.

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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), thesis proposal, engagement and presence in class.

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Instructor: William Echard
Selected debates within contemporary theory and culture and their relevance to music. The focus will be on a limited range of debates and issues selected by the instructor for in-depth discussion and analysis. Topics will vary from year to year.
<li class=”coursedescadditional”>Includes: Experiential Learning Activity

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Instructor: Paul Théberge
Cross-listed with CLMD 6105
This course concerns itself with the role that the technologies of print, visual and auditory cultures play in changing models of literacy, visuality and aurality.  This year, emphasis will be placed on technologies of music and sound and on digital technologies. Broad issues and theoretical approaches to the study of technology, such as technological determinism, social construction, actor network theory, media archeology and media ecology, will be examined in relation to music and sound. The course will be informed by an understanding of technology as cultural and social practice.
There is no textbook for this course; readings will be posted on cuLearn.
Assignments/Grading: participation, class presentations, and a final paper.

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Instructor: Jesse Stewart
Cross-listed with MUSI 4005
The past two decades have witnessed a tremendous expansion in the range of intellectual conversations surrounding the musical practices commonly associated with the term “jazz.” In this combined fourth-year undergraduate and graduate level seminar, we will examine a variety of key issues in the study of jazz including jazz history/historiography, race, gender, class, politics, nationality, improvisation, performance, analysis, meaning, and more. By critically examining the ways in which these issues have intersected with “jazz” (broadly construed), we will explore jazz not only as a form of musical discourse, but also as a site for community building, identity formation, civic dialogue, and political action.
Readings TBD.
Evaluation will be based on participation, in-class listening tests, student presentations, and a research essay.

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Instructor: Carolyn Ramzy
Course Description: This course examines the role of music in the multifaceted and complex processes of globalization. Following an introduction to the contested, and at times contradicting definitions of the phenomena, we explore how sound and music negotiate histories of post/colonialism, cultural imperialism, neo-liberal economies, and constructions of difference in an increasingly connected and interdependent world. We also investigate questions of local agency over sonic representation and the commodification of indigenous music traditions in “world music” contexts. Finally, through the close and critical analysis of a number of interdisciplinary readings and ethnographic case studies, we broadly consider our role as academic researchers and music makers, and how we can engage audiences and music practitioners in nuanced, discerning, and thoughtful music conversation in a globalized era.
Lecture: 3 hours per week.
Evaluations of student work: Discussion participation, reading reflections, term paper, final presentation

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Instructor: Ellen Waterman
x-list with CLMD 6903
This course offers a situated look at the complexities of ecologies of music and sound—Canadian artists, scenes, and institutions—in terms of the entanglement of people, processes, more-than-human entities and things. It provides an introduction to a variety of approaches to theorizing ecology, music and sound with particular attention to scholarship in acoustic ecology, acoustemology, and ecomusicology. Work by Canadian scholars and practitioners is well represented. We will examine theories of ecology, agency, and subjectivity drawn from new materialism, science and technology studies, and anthropology including intersectional and indigenous approaches. We will articulate these diverse theories with case studies in Canadian music and sound including artistic works and practices, institutions, and spaces/places.
Evaluation will be based on seminar presentations and a major paper/project. For the latter, students will have the option to participate in an institutional ethnography, mapping music and sound at Carleton’s recently acquired Dominion Chalmers Centre. This project will afford opportunities to develop both archival and ethnographic research skills.

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