This course explores the place classical music holds in contemporary society, drawing upon texts from popular and cyber culture. Focusing on examples that engage with Western art music from 1100 - 1791 C.E., this course teaches students the skills necessary for media and information literacy while also developing music-historical knowledge and providing foundational training in university-level writing about music. No prior musical training is necessary.
This course is designed for arts and social science students with an interest or background in music. The fundamentals of vibrations and waves will be introduced and applied to a study of archetypal instruments. The psychoacoustic basis of pitch and loudness will be discussed.
Fundamentals of ear training, sight-singing, keyboard, and written skills (rudiments such as scales, intervals and basic chord identification) are introduced. Proficiency on an instrument is not required, but previous experience with note-reading is expected. MUSC*1130 cannot be counted toward a specialization in music.
This course offers an integrated study of music theory and musicianship skills, delivered in lecture-lab format, with the goal of building a practical skill set and knowledge base that is relevant across genres and traditions (such as jazz, pop, rock, Western art music, and world music). Students are introduced to the critical and performative study of music theory, analysis, and ear training with a focus on melody, harmony, linear counterpoint and rhythmic organization. A solid grounding in rudiments is required for this course and will be assessed upon registration.
This course continues to develop and expands on the music theory and musicianship skills introduced in MUSC*1160. Students will engage in the critical and performative study of music theory, analysis, and ear training, with a focus on chord construction, harmonic progressions, and song forms. Students will build a practical skill set and knowledge base that is relevant across genres and traditions (such as jazz, pop, rock, Western art music, and world music)
This course explores the inner workings of music--its harmonic, melodic, and rhythmic building blocks. Through intense exercises that hone skills in ear training, dictation, keyboard, improvisation, and harmonization, students gain a deep understanding of how music works, and acquire practical musical skills that contribute to future work in composition, music theory, (ethno)musicology, pedagogy, and performance. A solid base in rudiments is required for this course, and will be assessed upon registration.
This course provides individual instruction in the technical and stylistic aspects of artistic solo instrumental or vocal performance. In order to register for this course, students must arrange an audition with the School of Fine Art and Music at the time of course selection.
This course is a continuation of MUSC*1500.
This course offers an introduction to the avant-garde musical life of the 20th century and beyond including the works of Debussy, Stravinsky, Satie, Schoenberg, Cage, Cowell, and others.
The background and development of musical life in Canada. Cultivation of understanding of Canadian music using recorded examples with emphasis on 20th-century compositions.
An introduction to computer technologies as they apply to the creation and manipulation of music. Topics will be drawn from the areas of sound synthesis and processing, recording, encoding, and transcription. The course will include a classroom and an applied component.
A survey of the major styles, personalities, and performances of the jazz tradition in terms of its social and cultural contexts through the examination of jazz texts and commentary, autobiographies of musicians, and recorded examples of important performances.
A survey of the major genres, styles, personalities and performance of popular music primarily in the 20th-century through lectures, listening, discussion and reading. Issues such as the relationships between popular music and race, class, technology, and art will be examined. Technical knowledge of music is not required.
A continuation of MUSC*1180.
This course will provide an introduction to digital music, from the initial "cybernetic" experiments of the 1950s to the evolution of software tools for synthesizing, processing, and analyzing sound to the development of music/audio-related hardware such as digital synthesizers, samplers, recorders, mixers, and workstations. An overview of musical genres utilizing digital technology will be presented (experimental, techno, dance, rap, ambient, etc.). Digital technology, including the revolutionary MIDI protocol, will be set into historical context, looking at musical and social developments and milestones, as well as related non-digital technology such as analog synthesizers and multi-track recorders.
This course offers an ethnomusicological introduction to the musical life of Sub-Saharan Africa, India, South America, the Middle East, Indonesia, and the Far East.
This course explores the connections between contemporary culture and the history of Western Art Music. Focusing on material from 1750 to 1890, this course considers how cyber and popular culture engage with and often distort the historical origins of "classical" music. Students will further develop media and research literacy skills and will continue to hone their command of writers' craft. The ability to read music is required for this course.
This is a music appreciation course intended for non-music majors. This course explores the sonic codes of western art music ("Classical" music) as they developed in their original contexts, as well as their use and meaning in today's film soundtracks. The works chosen for study are those likely to be encountered in modern concert and opera halls and are selected primarily from the Baroque, Classical, and Romantic eras.
This course offers class instruction in the technical and aesthetic aspects of music composition and improvisation.
This course is a continuation of MUSC*2410.
A continuation of MUSC*1510.
A continuation of MUSC*2500.
The study and performance of selected instrumental music through participation in one of the School's ensembles: Chamber Ensemble, Concert Winds, Contemporary Music Ensemble, Jazz Ensemble. In order to register for an ensemble, the student must arrange for an audition with the School of Fine Art and Music. Auditions will be held prior to the first day of classes each Fall and Winter semester. Students must check with the School of Fine Art and Music office for audition dates. Students are encouraged to audition for an ensemble in the Fall semester and to participate in it for both Fall and Winter semesters. Not all ensembles will be able to accept new members in Winter. Consult the School of Fine Art and Music for further information.
A continuation of MUSC*2530.
The study and performance of selected choral literature through participation in one of the School's ensembles; the University of Guelph Symphonic Choir, the Gryphon Singers. In order to register for an ensemble, the student must arrange for an audition with the School of Fine Art and Music. Auditions will be held prior to the first day of classes each Fall and Winter semester. Students must check with the School of Fine Art and Music office for audition dates. Students are encouraged to audition for an ensemble in the Fall semester and to participate in it for both Fall and Winter semesters. Not all ensembles will be able to accept new members in Winter. Consult the School of Fine Art and Music for further information.
A continuation of MUSC*2550.
Development of sight-reading and accompaniment skills for pianists in close coordination with vocal and instrumental applied music students.
A continuation of MUSC*2570.
This course is a study of music theory and analysis. It builds on rudiments and musicianship skills developed in MUSC*1180 and introduces students to materials of music including melodic construction, phrase structure, linear counterpoint, rhythmic organization, and diatonic harmony. Students will work on both applied and analytical assignments.
This course continues the study of music theory and analysis. Students move on to learn about and work with more advanced concepts of tonal harmony and music analysis. The second half of the course introduces students to post-tonal music (20th-century). Students will work on both applied and analytical assignments.
This course is a continuation of MUSC*2540.
This course is a continuation of MUSC*3210.
This course is a continuation of MUSC*2560.
This course is a continuation of MUSC*3230.
This course is a continuation of MUSC*2420.
This course is a continuation of MUSC*3410.
A continuation of MUSC*2510.
A continuation of MUSC*3500 including preparation and performance of a juried recital; restricted to students in a Music program (honours major or minor or general, area of concentration).
The study and performance of selected instrumental or vocal chamber music through participation in a small ensemble under the guidance of a supervising instructor. Students will organize the ensemble, which normally consists of two to six vocalists and/or instrumentalists, design a project with the instructor, and submit the proposal to the Music Faculty Committee for approval by the last day of course selection in Fall (for Winter) or Winter (for the following Fall). A form is available from the School office for this purpose.
A continuation of MUSC*3550.
This course examines music from the late 19th century (Debussy and post-romantic composers) to the present from both historical and theoretical perspectives.
This course provides a seminar experience in focussed topics related to jazz and improvised music. Topics will normally include some combination of the following: jazz/improvisation history and theory, critical studies in jazz/ improvised music. Subject matter will vary according to the instructor.
This course examines the rise and impact of the cultural industries on production and consumption of music, the development of transnational popular music, and the role popular music plays in the politics of social identity.
This course examines selected topics in music history, performance practice, analysis, and music within its cultural context.
Topics for this course will normally include some combination of the following: a specific world music tradition, ethnomusicological issues, theories, or methods. Subject matter will vary according to the instructor.
This is a course which focuses on a specific area of digital music production. Topics may include advanced audio production, advanced MIDI sequencing, advanced music notation/instrumentation, synthesis and signal processing, music-oriented computer programming, or interactive computer music. Normally, a major creative project will be completed and presented as an outcome of the course.
This course examines current philosophical trends in music education, and the application of various theories of music learning. Students will be asked to process conflicting ideas as presented through readings, class discussion, and their own experience as learners. There is also a practical component, in which each student will conduct an ensemble or give a series of private lessons, as well as present a collaborative teaching assignment. The course is designed to prepare music students to teach privately or in a classroom.
This is an independent experiential learning option in music for qualified students working in consultation with a faculty advisor. The project may include the development of practical research strategies, resource development and publishing tactics enabling the student to investigate and disseminate a topic in music not otherwise available in the curriculum. It may also include a creative component such as developing professional-level skills in composition, performance, pedagody, or improvisation, leading to performance, presentation, and/or vocational exposure in community venues. A proposal supported by a faculty advisor must be submitted in advance for approval to the Music Faculty Committee.
The Honours Seminar in Music teaches advanced research methods common to a range of musical investigations: musicology (including ethnomusicology, popular music and jazz), music theory, music pedagogy, and musical creation. In addition, the Honours Seminar in Music allows students to engage in individual research with concentrated energy through a one semester/one credit course in a supportive peer environment. Students will develop a research project proposal for approval by the instructor in the semester prior to enrolling in this course.
First part of a two-semester performance project culminating in a music recital at the end of the second semester. Students will present a preparatory performance at the end of the first semester. Qualified instrumentalists, vocalists, and composers who have completed the applied music or applied composition course sequences are eligible to present a full-length recital. In the case of composers it is the responsibility of the student to organize performers to present the music. Recital proposals must be submitted in advance for approval to the Music Faculty Committee. MUSC*4460 and MUSC*4470 are normally taken over consecutive semesters.