Graduate Courses


Fall 2017

| 500 | 600 |

Music 507 - Writing about Music

 D. Gramit     T R   3:30 - 4:50    FAB 2-26

Important note for graduate students in Music: for the Fall of 2017, Music 507, Writing about Music, is being offered in lieu of Music 505, Bibliography and Research Methods. Students whose programs require Music 505 will be able to fulfill that requirement by taking Music 507 this fall.
This offering of Music 507 will consider both research methods and writing, with an emphasis on finding and evaluating music and materials related to it, appropriate citation, and effective writing in a variety of academic contexts, including grant applications, research papers, program notes, and theses. Students will choose research and writing projects relevant to their programs.

Music 509 - Vocal Literature I/Advanced Vocal Literature I 

L. Regehr    M W F    9:00 – 9:50     FAB 1-29

The purpose of this course is to explore non-operatic solo vocal repertoire.  Through critical listening and discussion, students will gain an understanding of the major composers of art song repertoire, the larger historical context within which these composers worked and stylistic developments through the 17th-20th centuries.  The course will be a combination of lectures, presentations and performances, and include discussions of song interpretation, musicianship and style with respect to poetry, melody, harmony, rhythm, form, accompaniment, and text-setting. Vocal Literature I will focus on the German lied as well as the songs of British composers.  Vocal Literature II, offered in the Winter term, will explore French mélodie, North American art songs, and Russian and Spanish repertoire.  (Course Prerequisite: Music 225, voice or any instrument, or equivalent.)

Music 555 - Theory and Analysis: Music and Text 

M. Moshaver   W  1:00 - 3:50   A 403

This seminar examines the many problems and registers of text-music interaction, with a focus on Romantic and Symbolist repertories of the 19th century. Beginning with the idea of mimesis, where music is seen to imitate or express in its own medium the images and sentiments presented in a poetic text, the seminar will focus on the critiques and radical transformations of this model in the philosophical aesthetics of the 19th century, as well as in the compositional practice Schubert, Schumann, Wagner, Wolf, and Debussy. Readings include works by Rousseau, Lessing, Goethe, Schlegel, Hoffmann, Hanslick, Nietzsche, Baudelaire, Mallarmé, among others. Emphasis will be on written interpretive analysis.

Music 564 - Music and Religion

J. Byl   W   9:00 – 11:50     FAB 2-26

In this course, we will explore how people living in diverse times and places experience their religious lives through sound. We will encounter all of the major religions through music, ritual and sound, but will also pay attention to localized traditions of the divine in the world, and the world of the divine. We will use readings, listening, and the analysis of performances to answer key questions, and think of more: How do local understandings of natural power transform a major world religion? How is cosmic energy channeled through the movements of the human body? And what is it about music that allows it to express our grandest understandings of the divine? 

Music 570/ 660/ 760 - Composition Tutorials

M. Hannesson; S. Smallwood    Date/Location TBA

In either or both acoustic and electronic mediums, Music 570, 571, 660, 661, and 760, 761 are all tutorial-based courses in ‘free’ composition. Regular critiquing and coaching will assist the student in developing
various compositional techniques and strategies, as well as encouraging informed, independent creative musical thought and expression. To ensure that diverse learning experiences occur, emphasis is placed on composing shorter, multi-movement works that are concise, well-structured, and clearly focused with regard to artistic objectives and compositional means.

Music 581 – Playing with Sound: Exploring Sound and Music in Video Games

S. Smallwood    T R   9:30 - 11:50   FAB 2-7D

In this seminar, we will explore topics surrounding the use of audio and music in video games through readings, films, and the games themselves. In exploring sound, we will interrogate the many uses of sound in games, from sound effects, dialog, and music to sound puzzles and experimental audio mechanics.  We will also look at trends in 3D sound, including binaural and ambisonic sound. Warning:  students WILL be expected not only to read about games, but also to play them.  A games list will be distributed early in the semester, along with readings and other forms of media discussing games and game theory.

Music 587 - Period Studies: Popular Music in the Digital Age 

B. Fauteux   F   9:00 – 11:50   A 403

Over the last few decades the music industry has been subject to a severe case of “disruption,” due to changes in technology, the economy, and listening practices. Artists like Chance the Rapper, Beyoncé, and Radiohead have challenged record industry customs by releasing music with experimental funding and promotional models. New services like Spotify and YouTube have become common ways of listening to music but have also been criticized for failing to pay artists a fair price per stream. Popular Music in the Digital Age is a course that looks at the relationship between popular music and digital culture, charting the history of digital music from the development of digital audio technologies to their role in the music industries today. 

Music 595 – Music and Business

G. Tardif   W  6:00 – 9:00pm     FAB 2-26

This course introduces students to specialized literature focusing on today's music careers and the business of music in a Canadian context. We will review basic concepts and discuss the intersections between music and business including how this may or will apply to you.

Music 614 - Proseminar in Musicology

D. Gramit    M  1:00 - 3:50     A 403

The Calendar’s description of this course is brief and unrevealing: “An overview of history, methodologies, and current issues in musicology.” As I have designed this year’s offering of Music 614, I’ve tried to consider how to offer such an overview in a way that is both responsive to the reality that most if not all of the students taking it neither are nor intend to be musicologists, and respectful of a field to which thoughtful and perceptive people have devoted a great deal of effort for many years. The result is a course that seeks to acknowledge both some of the core values and practices that have characterized a great deal of musicology, while also situating those values and practices in a context that acknowledges that they have limits and have been challenged both within and beyond the field. The proseminar’s goals are: 
to familiarize you with a variety of practices within musicology, and thereby to allow you to arrive at a sense of the approaches that characterize this intellectual field;
to encourage you to consider the contexts and values that have given rise to and supported those practices;
to stimulate your reflection on those practices in relation to your own musical and intellectual goals and values;
to allow (or, more accurately, require!) you to situate yourself and your work thoughtfully and critically in relation to some of those practices;
and, to develop your ability to communicate orally and in writing through discussion, presentation, and written assignments.

Music 631 - Advanced Wind Band Techniques 

A. Schroeder  M  12:00-1:30  Place TBA

This course is designed to integrate all aspects of the graduate program in Wind Conducting, and to offer a deeper study into the historical, theoretical, analytical and practical aspects that pertain to the Wind Band repertory. Students will demonstrate mastery through score analysis, composer studies, research projects, listening assignments, class discussion and presentations and practical conducting demonstrations.

Music 630/ 635/ 638/ 730/ 738 - Choral Conducting

L. Ratzlaff   M  W  F 11:00 – 11:50   1-29 Fine Arts

The Graduate Choral Conducting course is a lab course that provides advanced student conductors (mostly doctoral and Masters graduate students who have qualified through audition in January of the previous year, but also qualified undergraduate students by special permission) a strong grounding in gestural conducting technique, a variety of rehearsal techniques and score analysis skills. The lab component involves a chamber ensemble of choral singers and instrumentalists, providing conductors with immediate response and feedback to their podium work. Repertoire is chosen from the full range of periods and styles. Evaluation of students is through periodic video-taped performance of the music being studied.

The Lab for this course is also available to students through the course number Music 477, a half course offered over both fall and winter terms. Consult Professor Ratzlaff if interested in participating in this course as a singer or instrumentalist.


Music 645 - Seminar in Computer Music Composition (The Aesthetics of Error, Malfunction, Failure, and Glitch)

M. Hannesson  T R  3:30 - 4:50     FAB 2-7D

Application and programming of computer music software.
For 2017: The course will begin with the history of glitch music and art. We will then look into the aesthetics and cultural significance of such art forms. The main focus of the course will be on the techniques and methods used by glitch artists. Digital techniques such as, datamoshing, databending, pixel sorting, text and hex editors will be explored, as will analog and physical methods of malfunction and error. Creative projects will be carried out using these methods in order to gain hands-on compositional experience with this genre.  (Prerequisite:  Music 445 or consent of department.)

Music 666 - Field Methods in Ethnomusicology

M. Frishkopf  M  9:00 – 11:50    A-403

This course centers on ethnographic fieldwork, as applied to the study of society and culture, with a focus on sound and music.
While the course is geared especially for ethnomusicologists, its broad coverage of theoretical and ethical issues, fieldwork techniques, inclusion of multimedia technology, and a pedagogy of learning-by-doing (from proposal writing, to fieldnotes, to shooting video) will prove useful to students in a wide variety of social science disciplines, including anthropology, sociology, education, and political science. The course aims to provide you with strategies for the acquisition of field methods -- including theoretical, critical and practical dimensions (related to declarative, critical, and procedural (method) knowledge)-- enabling you to perform critical ethnographic fieldwork, to gather ethnomusicological data, and to develop musical ethnographies. 




Winter 2018 

| 500 | 600 |

Music 558 - Music Theory VII: Theories of Music After 1950

M. Hannesson   T R    3:30 - 4:50 FAB 2-26

The course focuses on the styles and techniques of music from 1950 to present day.  Topics will include, but are not limited to, Serialism, Indeterminacy, Micro-polyphony, Spectralism, New Complexity, Minimalism, Electroacoustic Music.  (Please see calendar for prerequisites)

Music 568 - Advanced Area Studies in Ethnomusicology: The Arab World

M. Frishkopf    T R    14:00 - 15:20 A 403

This course will survey music cultures and trends in the Arab world (broadly defined), from the 7th century to the present. We will develop a critical perspective, by contextualizing music designated as "Arab" within Arab nationalism from the 19th century onwards. Likewise, the concept of "Arab world" will be problematized, nuanced, and extended to the diasporic community. Historical and music theoretical approaches will be adopted, but the course will focus on the sociology and anthropology of music. We will examine localized musical dialects--urban and rural—characterizing societies and cultures from Morocco to the Gulf, as well as broader mediated forms, and music media themselves, from phonodiscs to satellite TV. Aesthetics of music, spiritual, religious, and metaphysical dimensions, gender and sexuality, politics, coloniality, and globalization are all topics to be taken up. A significant component of the course is sensory immersive, including listening and viewing, including a number of music-related films, both documentary and feature. The objective is for you to learn about these multifacted music cultures, and, through them (and by means of their critical analysis) to begin to understand the Arab world (so frequently misunderstood) in a new way.

Music 571, 661, 761 - Graduate Composition Tutorials

M. Hannesson; S. Smallwood     Date/Location TBA

In either or both acoustic and electronic mediums, Music 570, 571, 660, 661, and 760, 761 are all tutorial-based courses in ‘free’ composition. Regular critiquing and coaching will assist the student in developing
various compositional techniques and strategies, as well as encouraging informed, independent creative musical thought and expression. To ensure that diverse learning experiences occur, emphasis is placed on composing shorter, multi-movement works that are concise, well-structured, and clearly focused with regard to artistic objectives and compositional means.

Music 588 – Studies in Music and Film

C. Gier     T R   12:30 – 13:50     A 403

This course studies the various developments in film music during the last century. We address how music functions in films and identify techniques that have made film music effective. We gain an appreciation for how the relationship between music and the screen has developed. The foci for the course are diverse: from early film to Hermann and Hitchcock to news music. Questions to be explored: How did film music evolve in the early films? How did music work in classic Hollywood film? How did it work in film noir? Why is music important to have in film? What are some recent critiques and studies of music and “the moving image”?

Music 608 - Seminar in 20th Century Music: Listening

M. Ingraham     T    9:00 – 11:50    A 403

It could be said that the majority of academic writing on music is (ironically) unsensuous. In this class we explore theoretical models of listening with the goal of developing a more sensory-focused approach as well as creative opportunities for writing around rather than about specific experiences. Listening is understood in this course to involve the interconnection of multiple senses, and seminar materials will highlight aspects of the haptic (the sense of touch), the kinaesthetic, and the visual (such as ‘structural listening’ as described by Adorno, for example), as well as visual and historical representations of sound embedded and embodied in photos, poetry and literary works, and the visual arts.

Music 633 - Seminar in Choral Literature I

B. Dalen  T R   2:00 – 3:20   FAB 3-56

This seminar focuses on choral music from the Medieval to early Classical periods (ca. 1800); representative works from each period are studied, with a view to placing them in historical context, as well as tracing musical influences and the emergence of particular forms (both sacred and secular). Admission is open to all graduate students, and this course is required along with Music 634 (Graduate Choral Literature II, offered in alternating years) by graduate students in the choral conducting program. A variety of seminar presentations and written papers are required, but no examination is given at the end of the class.

Music 651 - Seminar in Music Analysis 

M. Moshaver    W    13:00 – 15:50    A 403

This course focuses on developing approaches to musical analysis based on contextual and interactive modes of questioning.  We will draw primarily, though not exclusively, on music from the 19th-century piano repertory (Beethoven, Mendelssohn, Schubert, Schumann, Chopin, among others), and will consider this music from the standpoint of analytical and descriptive vocabularies which will permit us to bring to words, with some precision, insights and observations on the interaction of different musical parameters, whether harmonic, rhythmic, thematic, formal, narrative, or performative. In-class collective analyses will be supplemented by relevant readings on a range of topics, from music-analytical writings to historical, aesthetic, and literary texts.  Also relevant in this context are recent studies on sonata theory, topic theory and metrical approaches to formal analysis.


Music 665 - Issues in Ethnomusicology

J. Byl   M   9:00 - 11:50    A 403

This course serves as an introduction to the discipline of ethnomusicology. We will begin by considering our roots in musicology, social theory and anthropology, and try to understand how modern practicing ethnomusicologists situate themselves within a larger intellectual tradition. We will move through theoretical and methodological territory, including discussing "the state of the field," always seeking to connect approaches and discourses to the questions that are animating ethnomusicology, both inside and outside the field.