Intensive study of a particular area of performance or production-related activities.††

Class instruction in piano for BMus and Diploma in Performance students who do not meet the keyboard facility requirements upon entering the program. This course does not count toward a music degree or diploma.

Remedial theory and musical skills for BMus and Diploma in Performance students who do not meet the theory requirements upon entering the program.

Intensive study of a particular area of performance or production-related activities. May be repeated for credit.

An introduction to composition. Primarily designed for Year 1 students interested in pursuing composition; also available as an elective for students in Year 1, Year 2 or Year 3.

Continuation of Composition IA.

A context for the study of music theory including cultural issues, relationship of theory to other fields in music, parameters of music, and an introduction to counterpoint, harmonic function and part-writing.

An introduction to diatonic harmony, simple modulation, voice-leading, functional and sequential progressions, the harmonic structure of the phrase and basic components of form (motive, idea, phrase, period, sentence, hybrids). The course involves part-writing, analysis and dictation.

Music in Western civilization from ancient times through the Renaissance.

Refer to Ensemble Policy in the Faculty of Music chapter.

Additional ensemble for students in a Bachelor of Music program; refer to Ensemble Policy in the Faculty of Music chapter.

The study and performance of chamber music in various combinations. Groups will perform regularly in class. Weekly coaching and evaluation.

An introduction to solfege; sight-singing of diatonic melodies in treble and bass clefs, intervals, chords and basic harmonic progressions; rhythmic reading; dictation of similar materials.

Continuation of Musical Skills I, including chromatically altered tones, alto and tenor clefs, two-part rhythmic exercises and keyboard harmony.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument. Offered only in the spring term and subject to availability.

Available to students in BMus programs as a second practical study upon recommendation of the Faculty and with permission of the dean; and with the same conditions to students in other faculties who are registered in WLU Orchestra or Wind Ensemble.

Special topics in music education; introductory level of a specific music philosophy and procedure applicable to classroom teaching. May be repeated for credit when the topic changes.††

A continuation of the topic chosen in MU202. May be repeated for credit when the topic changes.††

A continuation of the topic chosen in MU203. May be repeated for credit when the topic changes.††

Study of the history and philosophy of music education; current research techniques and materials related to Secondary school music.

Introductory class in percussion techniques.

Introductory class in trumpet and French horn techniques.†

Introductory class in trombone and tuba techniques.†

Introductory class in flute, clarinet and saxophone techniques.†

Introductory class in oboe and bassoon techniques.†

Introductory class in violin and viola techniques.†

Introductory class in violoncello and double bass techniques.†

Introductory class in recorder techniques.†

Introductory class in guitar techniques.

Introductory class in vocal techniques.

Introductory class in guitar for students in the music therapy stream.

An introduction to the newer technological instruments and the effects of this technology on the field of music. High-fidelity systems, tape recorders, microphones, synthesizers, and examples of computer music hardware and software will be studied from both theoretical and practical points of view.

A study of digital synthesis, sampling and signal processing with an emphasis on musical composition. Students will become acquainted with a microcomputer based 'studio', which will be used to produce several short compositions. The course will also cover other related technical, historical and aesthetic topics.

The basics of sight reading, transposition, harmonization, and improvisation – skills fundamental to accompanying.

Intensive study of a particular area of performance or production-related activities.††

Overview of the discipline of music therapy as it is practiced around the world. Study of special populations and treatment models is augmented by observation of music therapy practica in various settings.

The development of compositional skills and the student's personal expression.

Analysis of motive, phrase, period and expansions of the period; analysis of small forms in the 18th and 19th centuries, including binary, rounded binary, ternary and compound ternary; analysis of sonata, rondo, sonata-rondo forms, and variation and imitative procedures in the 18th and 19th centuries.

Analysis, composition and improvisation of jazz harmony.†

Introduction to chromatic harmony, modulation to closely related and distant tonalities, chromatic sequences and binary forms. The course involves part-writing, analysis and dictation.

Continuation of Jazz Harmony I.†

Analysis of musical form including small and composite ternary, rondo, sonata, sonata-rondo. Based on 18th- and 19th-century repertoire.

Arranging jazz for rhythm sections, vocalists and various instrumental ensembles.†

Music of the Baroque and Classic Periods.

Music of the Romantic and Modern Periods.

An introduction to the musical cultures of the world. The course will focus on the relations between music and society.†

Refer to Ensemble Policy in the Faculty of Music chapter.

Additional ensemble for students in a BMus program; refer to Ensemble Policy in the Faculty of Music chapter.

The study and performance of chamber music in various combinations. Groups will perform regularly in class. Weekly coaching and evaluation.

An introduction to the acting and movement skills required for singers.

Continuation of Musical Skills II, including melodies modulating to closely related keys, and cross-rhythms and syncopation, and keyboard harmony.

Continuation of Musical Skills III, including widely modulating melodies and keyboard harmony.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

The fundamentals of lyric diction in the five languages most used by singers - English, French, German, Italian and Latin. A study of the International Phonetic Alphabet and its application to singing in these languages will be included.†

Individual tuition in voice or instrument, subject to availability.

Available to students in BMus programs as a second practical study upon recommendation of the faculty and with permission of the dean available as principal practical study to students in Unclassified Studies: Music; and with the same conditions to students in other faculties who are registered in WLU Orchestra or Wind Ensemble.

Class instruction in piano for students in Honours Music and Diploma in Performance programs.

Intensive study of a particular area of performance or production-related activities. May be repeated for credit.

Study of style and repertoire, with emphasis on historical development. Rehearsals are held during Reading Week as well as fall and winter terms.

This course explores the repertory for keyboard 4-hands and two-keyboards, and may be offered in a masterclass format or on the basis of individual duo coaching, depending on enrolment. As the course is restricted in enrolment to even numbers, students are encouraged to establish pre-formed pairs before registering. The instructor reserves the right to re-assign students into different groups during the course of the year. This course may not substitute for ensemble or chamber music.

Work-term option.

This course focuses on fundamental music therapy skills, approaches, repertoire, and methods of assessment in preparation for clinical sessions with clients.

The study of such topics as the perception of pitch, timbre, rhythm, tempo, scales and tuning and melodic processes; the listener and the acoustic environment; the nature and measurement of musical preference and musical abilities; neurological aspects of music perception and performance; the communicative aspects of music.†

Intensive study of a particular area of performance or production-related activities. May be repeated for credit.††

Practice in choral conducting and techniques; program-building and organization of choirs and vocal ensembles; choral repertoire; voice training techniques; development of choral tone.

May be repeated for credit. Possible topics include advanced orchestration, advanced conducting, continuo realization and introduction to opera coaching.

A continuation of MU260*.

Counterpoint in the 18th century.††

Music therapy practice and theoretical perspectives are highlighted by the examination of case studies in music therapy.

Observation of music therapy sessions conducted by qualified music therapists. Students will assume co-leadership responsibilities and conduct group sessions. Weekly seminar required.

The practice of musical resources and development of repertoire for improvisation in music therapy sessions.

Exercises in tonal, modal and free improvisation; aural memory and response; transposition; accompanying.

Orchestration

A history of liturgical and secular music from ca. 500 to the end of the 14th century. Composers, theoretical concepts, forms, notations, and representative compositions will be studied within the cultural context of the period.†

A history of music from 1400 to 1600. The sacred and secular works of the major composers will be studied within the cultural context of the period.†

A history of music from 1600 to 1750. The main forms, genres, and representative compositions from the period will be studied with particular emphasis on the music of Bach and Handel.†

A history of music from 1750 to 1815. The course will deal with the Viennese Classical style found in the chamber music, symphonies, concerti, keyboard music, sacred music, and operas of Haydn, Mozart and Beethoven.†

A history of music from 1815 to 1900. The course will examine the Romantic style through selected works by the major composers. The repertory to be studied includes song cycles, symphonies, symphonic poems, concerti, chamber music, keyboard music and operas.

The development of music of the European tradition around the globe from the 1890s to the present. Selected works by major composers will be examined.

May be repeated for credit when the genre changes.†

Consult the Faculty of Music for current offerings.††

Refer to Ensemble Policy in the Faculty of Music chapter.

Additional ensemble for students in a BMus program; refer to Ensemble Policy in the Faculty of Music chapter.

The study and performance of chamber music in various combinations. Groups will perform regularly in class. Weekly coaching and evaluation.

A continuation of Acting for Singers I.

A practical exploration of concepts in contemporary musicianship including, but not limited to: symmetrical scales, atonal and twelve-tone melody, contemporary rhythm and meter, unconventional notation, cross-cultural influences. The course involves sight-reading and dictation.

Studies in the performance practice of Renaissance and Baroque music, including ornamentation, rhythm, and its relation to dance.††

A survey of the standard orchestral repertoire with a special emphasis on orchestral performance practice.†

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

Philosophy of church music, hymnology, psalmody, hymn playing, improvisation, psalm singing, carols, the church year, various types of performance, and instruments (other than organ) including handbells.†

Service planning and playing, the organist, the choir rehearsal, the organ, the total music program, weddings, funerals, employment and repertoire (organ, choral, etc.).†

Studies and practice in the art of accompanying vocal literature.†

Basic principles of conducting.

Individual tuition in voice or instrument, subject to availability. MU395 may not be taken after MU490*.

Available to students in the BMus Comprehensive: Music Education, Composition, and Music History programs as principal practical study; to students in BMus programs as a second practical study upon recommendation of the faculty and with permission of the dean available as principal practical study to students in Year 1 of Unclassified Studies: Music; and with the same conditions to students in other faculties who are registered in WLU Orchestra or Wind Ensemble.

Intensive study of a particular area of performance or production-related activities. May be repeated for credit.

Study of recitative, aria, ensemble and selected scenes. Rehearsals are held during Reading Week as well as fall and winter terms.

This course explores the repertory for keyboard 4-hands and two-keyboards, and may be offered in a masterclass format or on the basis of individual duo coaching, depending on enrolment. As the course is restricted in enrolment to even numbers, students are encouraged to establish pre-formed pairs before registering. The instructor reserves the right to re-assign students into different groups during the course of the year. This course may not substitute for ensemble or chamber music.

Work-term option.

Exploration of the art and science of clinical practice. Seminar on music therapy literature.

An introduction to qualitative and quantitative modes of inquiry relevant to clinical practice. Professional issues and ethics in music therapy practice.

Assessment, treatment planning, implementation, and evaluation skills and techniques for group practica. Weekly seminar required.

Assessment, treatment planning, implementation, and evaluation skills and techniques for group practica. Weekly seminar required.

Intensive study of a particular area of performance or production-related activities. May be repeated for credit.††

A continuation of MU360*. In addition to other compositional projects, students will complete a major work.

An investigation of the musical styles and compositional methods employed in selected works by major composers of the first half of this century.

A survey of musical styles in the avant-garde tradition of music written in the latter part of this century. The course will include a general introduction to the many musical styles which have arisen in this period and some detailed analysis of these styles.

Techniques of improvisation for music therapy clinical practice. Observation and discussion of music therapy sessions conducted by qualified music therapists. Participation in experiential music therapy group.

Techniques of improvisation, with emphasis on its liturgical application. Simple contrapuntal forms and extended forms.

This course explores debates that have arisen in the discipline of musicology around positivism, critical theory, feminist and gender theory, poststructuralism and cultural studies.

(Cross-listed as ML471.)

This course investigates cross-cultural borrowings and intersections in concert and popular music of the 20th century.

This course explores the role of music in popular culture from the 1940s to the present. Musical examples will be approached from both formal and cultural perspectives, addressing issues of style, genre, race, gender and ideology.

This course explores the interaction between music, culture, and technology in popular and concert music since World War I. Subjects include the impact of technology on composition, distribution and audience reception.

May be repeated for credit. Possible topics include advanced orchestration, advanced conducting, continuo realization and introduction to opera coaching.

Refer to Ensemble Policy in the Faculty of Music chapter.

Additional ensemble for students in a BMus program, refer to Ensemble Policy in the Faculty of Music chapter.

The study and performance of chamber music in various combinations. Groups will perform regularly in class. Weekly coaching and evaluation.

A continuation of Acting for Singers II.

Score reading, realization of figured bass, improvisation and transposition.††

The study and performance of chamber music in various combinations. Groups will perform regularly in class. Weekly coaching and evaluation.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

Individual tuition in voice or instrument; weekly master class.

Individual tuition.

Individual tuition.

Music therapy clinical training at an approved facility under the supervision of an approved music therapist. The course extends to the beginning of fall term.

Music therapy clinical training at an approved facility under the supervision of an approved music therapist. The course extends to the beginning of winter term.

Music therapy clinical training at an approved facility under the supervision of an approved music therapist. The course extends to the beginning of spring term.

Continuation of Conducting I.

Available to students in the combined Honours BA program and the BMus Comprehensive: Music Education, Composition and Music History programs as principal practical study; to students in BMus programs as a second practical study upon recommendation of the faculty and with permission of the dean; and with the same conditions to students in other faculties who are registered in WLU Orchestra or Wind Ensemble.

Intensive study of a particular area of performance or production-related activities. May be repeated for credit.

Continuation of MU398*, with study of complete operas. Rehearsals are held during Reading Week as well as fall and winter terms.

This course explores the repertory for keyboard 4-hands and two-keyboards, and may be offered in a masterclass format or on the basis of individual duo coaching, depending on enrolment. As the course is restricted in enrolment to even numbers, students are encouraged to establish pre-formed pairs before registering. The instructor reserves the right to re-assign students into different groups during the course of the year. This course may not substitute for ensemble or chamber music.