43 courses in the 1985–86 Undergraduate Calendar, read from the scanned original. The text comes from OCR, so check the scanned page before relying on a detail.
Assistant Professor, Chairman
L. Enns, ARCT (Toronto), BSM (CMBC), BMus (Wilfrid Laurier), MMus, PhD (Northwestern)
Associate Professors
H. Martens, ARCT (Toronto), LRSM, BA, MA (Minnesota), PhD (Columbia)
W.R. Maust, 8S (EMC), BMus (Peabody Conservatory), MMus, PhD (indiana)
Lecturers
P. Hatch, BMus, MMus (Toronto)
K. Hull, ARCT (Toronto), BA (Waterloo), 8Mus, MMus (Western Ontario), MFA (Princeton).
Part-time Lecturers
N. Browne, BA (Alberta), MMS, PhD (Kansas)
H. Dyck, ARCT (Toronto), BA (Goshen College), AMM (Manitoba), Detmoid . Nordwestdeutsche Musikakademie
D. Huron, 8/S (Waterioo)
G. Holmes, BSc (Columbia)
W. Janzen, BMus (Manitoba), MMus (Wisconsin) so
M. Jarrett
P. Letkemann, BMus (Manitoba), MA (Mennonite Biblical Seminary)
A. Martin, ARCT, BMus (Toronto), MMus (Eastman) —
Studio Instructors.
Janet Auger, BMus (Toronto); Double Bass
Nina Brickman, BMus (Manhattan School of Music, N.Y.); French Horn
Ronald Brown, BM (New England Conservatory, Boston); Percussion
Cedric Coleman, BM, MM (New England Conservatory, Boston); Bassoon
Bruce French; Classical Guitar
Katherine Hubley, 8Mus (Cincinnati); violin
Kenneth Hull, ARCT (Toronto), BA (Waterioo), BMus, MMus (Western Ontario), MFA (Princeton); Piano
Thomas Kay, BM (Boston); Aute
Lilian Kilianski, BMus (Wilfrid Laurier), Dip in Opera Perf (Toronto); Voice
Eugene Laskiewicz; BMus (Queen's), BEd, MMus (Toronto); Accordian
Peter Maness; Trombone
James Mason, 8M (Shenendoah Conservatory), MM (Catholic U., Washington); Oboe
Jane Noyes; Tuba
Victor Sawa, BM (McGill), MM (New England Conservatory, Boston); Clarinet
John Tickner; Trumpet
Dianne Werner, BMus (Toronto), Art Dip (Western Ontario); Piano
Course Descriptions
Courses not offered in the current academic year are listed at the end of this section.
Introductory Note
Students should consult their faculty advisor regarding how term courses with credit weights other than 0.5 are counted for degree credit in their program.
The techniques, terminology, forms and- Styles of Western music through lectures and listening, as exemplified by great works from alt eras of music history.
« Neither MUSIC 150 nor MUSIC 151 may be taken for credit if MUSIC 100 is taken for credit. However, MUSIC 150 and MUSIC 151 together may serve in lieu of MUSIC 100 as prerequisite for upper-level Music courses.
The study of selected music literature through rehearsals and performance in one of the Music Department’s ensembles: University Choir, Chapel Choir, Concert Band, Stage Band, Orchestra, Early Music Ensemble, Chamber Ensembles. Regular attendance at rehearsals and performances is required. Offered on a credit/fail basis.
(See MUSIC 101 for course description.)
An introduction to the primary skills of + music practice emphasizing the reading and writing of musical notation. Students will learn elementary keyboard, listening, and sight-singing skills. For students with minimal musical background. Does not fulfill music major or minor requirements.
An examination of the styles, forms and development of twentieth-century popular music. The social, commercial and technological aspects of popular music are considered.
16.113
An introduction to music from earty Christian chant to Beethoven through listening, lectures, discussion and analysis.
Neither MUSIC 150 nor MUSIC 151 may be taken for credit if MUSIC 100 is taken for credit. However, MUSIC 150 and MUSIC 151 together may serve in lieu of MUSIC 100 as prerequisite for upper-level Music courses.
An introduction to the music of the 19th and 20th centuries through listening, lectures, discussion and analysis. Compositions include symphonies, concertos, chamber music, operas, electronic and computer music.
Prereq: MUSIC 150 or consent of instructor
(See MUSIC 101 for course description.)
(See MUSIC 101 for course description.)
The study of music from a behavioural science perspective. Topics include auditory and musical perception, music cognition, musical aptitudes and abilities, learning and pedagogy, creativity - and aesthetic experience, emotive human responses, and the social psychology of musical activities. Prereq: MUSIC 100 and PSYCH 101 or consent of instructor
An introduction to the history, theory, and practice of music in therapy. Emphasis on the function of music in personal development and the therapeutic application of music for the physically and mentally handicapped, and the socially maladjusted.
The study of scales, melody, two-part counterpoint, and basic harmonic concepts emphasizing the Middle Ages and Renaissance. Ear-training and sight-singing lab sessions will cover diatonic melodic and simple two-part exercises.
Prereq: A basic knowledge of scales, triads, and musical notation
The study of four-part homophonic and contrapuntal music, of diatonic and simple chromatic harmonies, and of elementary forms, emphasizing Baroque and Classical music. Ear-training and sight-singing lab sessions will cover four-part diatonic exercises.
Prereq: MUSIC 250 or consent of the instructor
The study of music that flourished under courtly and church patronage from the early Christian Church to 1600. Grego- ‘ian chant, liturgical drama, mass, motet, secular songs, and instrumental music are studied.
Prereq: MUSIC 100 or consent of instructor.
The study of music-of the Baroque and Classical eras from 1600 to 1800. A survey of major genres by Monteverdi, Schitz, Purcell, Bach, Handel, Haydn, Mozart and others.
Prereq: MUSIC 100 or consent of instructor
A study of the music written for solo voice from the 17th century to the present..
Prereq: MUSIC 100 or consent of instructor
instruments. This course is available only to Music majors and minors. Prereq: Royal Conservatory Grade Vill level and audition with Music Faculty Studio Fee
(See MUSIC 266 for course description, ) Prereq: MUSIC 266 and consent of
Music Faculty ’ Studio Fee.
A study of the traditional! folk music of Canada of both native and immigrant peoples, including traditional instruments, collectors, the ballad in Canada, chanson de Québec, the songs commemorating the great events of Canada’s history, and songs of work and pleasure.
A delineation of the characteristic motifs in folk music as found in Great Britain, Canada, the United States and Australia. Various folk instruments will be introduced.
A survey of the development of jazz schools and individual styles as well as a study of melodic, harmonic, and rhythmic improvisation. Styles will be demonstrated through recordings and live performance.
A survey of computer applications in music history, analysis and composition. Concepts from computer science and specific techniques and implementations of these various music activities are examined. Theoretical study is coupled with practical hands-on experience. Prereq: MUSIC 100 or consent of instructor
Ar historical study of the development of music in Canada from colonial times to the present, with particular emphasis on the composers and music of the 20th century.
Prereq: MUSIC 100 or consent of instructor
(See MUSIC 101 for course description.)
(See MUSIC 101 for course description.)
A Spring seminar to be taught in Vienna and environs. The course includes daily lectures and attendance of music performances during the Vienna Music Festival, as well as tours of places relating to the culture of Vienna.
Prereq: MUSIC 100 or consent of instructor
A study of the music and the philoso-
Phies of music of the Christian church
from the beginning to the present. Singing and/or listening to the music will
. be an integral part of the course.
Prereq: MUSIC 100 or consent of instructor
(See MUSIC 266 for course description.) Prereq: MUSIC 267 and consent of Music Faculty Studio Fee.
“MUSIC 367 F.W,S std 0.5
Music Studio (See MUSIC 266 for course description.) Prereq: MUSIC 366 and consent of Music Faculty Studio Fee.
The study of the harmonic, melodic and
formal aspects of 19th century music.
Ear-training and sight-singing lab
sessions will cover chromatic chord
progressions and modulatory melodies. Prereq: MUSIC 251 or consent of
instructor
The study of the compositional aspects of 20th century music, including extended tonality, atonality, 12-tone writing, neo-classical idioms, and contemporary compositional procedures. Lab sessions will cover non-tonal melodic reading and complex chord structures.
Prereq: MUSIC 370
Creative and critical potential is developed through supervised practice, tutorials and seminars. Free composition, style emulation, arranging and orchestration will be dealt with.
Prereq: MUSIC 251 or consent of instructor
The study of electronic music through
composition, analysis, listening, history.
techniques and technology. Practical
electronic studio experience is included. Prereq: MUSIC 371 or consent of
instructor
Prereq: Advanced standing in music and consent of instructor
Study of a limited field under tutorial guidance..
Prereq: MUSIC 100 and consent of instructor
Study of a limited field under tutorial guidance..
Prereq: MUSIC 100 and. consent of instructor
(See MUSIC 266 for course description.) Prereq: MUSIC 367 and consent of Music Faculty Studio Fee
A continuation of Music Studio. A recital is required.
Prereq: MUSIC 466 and consent of Music Faculty
Studio Fee
A research seminar required of all honours students. The topics wilt vary from year to year depending on the interests of the students and instructor(s).
A letter grade for MUSIC 490A will be submitted only after the completion of MUSIC 490B
Not offered in 1985–86.
Not offered in 1985–86.
Not offered in 1985–86.
Not offered in 1985–86.
Not offered in 1985–86.