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FALL 2025

MUCO 631 Seminar in Composition 鈥� CRN 4316 | Professor Eliot Britton

Identity and Practice in the 21st Century

Situating one鈥檚 creative practice is a vital part of compositional development in the 21st century. This upper-level graduate seminar introduces strategies for integrating creative research with current and emerging aesthetic trends in contemporary music-making. Through active listening, critical reading, and the study of scores and media, students will explore how artistic identity and compositional voice are shaped by broader cultural and theoretical contexts. The course supports a wide range of aesthetic positions and encourages diverse perspectives, ideals, and goals. Composers will be expected to critically engage with current scholarship as they articulate and refine the foundations of their own practice. Topics may include the application of literary theory and criticism鈥攊ncluding modernism, postmodernism, post-digital aesthetics, queer theory, postcolonialism, and feminism鈥攁longside contemporary approaches to rhythm, harmony, melody, texture, sound mapping and sonification, spectral and post-spectral technique, computer-assisted composition, gesture, timbre, and AI-driven methods of musical and narrative development.

FALL 2025

MMUGT 610 (001) Seminar - Music Education 鈥� CRN 4428 | Professor Isabelle Cossette

Breathing and Stress: From theory to practice

While respiration and stress are very complex bodily functions and are sometimes 鈥榠n the way鈥�, they are at the core of any living activities, including music making. This course covers the theoretical underpinnings of the respiratory and stress response systems through a whole-person approach and, aims at identifying some evidence-based solutions/applications to students鈥� current questions.

Class sessions are intended to develop a broad and interdisciplinary knowledge, critical thinking skills and how to implement some concepts into instrumental pedagogy, practicing strategies and healthy lifestyle, etc. Discussions based on readings (scientific textbooks and literature), lectures, online material, peer-work, hands-on measurements and presentations will allow the students to share knowledge and strategies that can be applied to practice.

Evaluation will be based on class preparation and may include a take-home exam, oral and written reflections, an annotated bibliography, presentation and a final project associated to either research, performance or learning aspects of the student鈥檚 interests as relate to class content.

FALL 2025

MUGT 611 (001) Seminar - Music Education 鈥� CRN 4429 | Professor Liza Lorenzino

Introduction to Teaching in a Community Music Setting

This seminar will investigate varied pedagogical practices of music education in a community music setting. Through the in-depth study of research literature, students will critically discuss current theories of Community Music Education practices in informal and non-formal settings. Attention will focus on philosophical and pedagogical methods employed in these settings with an emphasis on inclusion, social change, health and wellness, and interdisciplinarity. Students are expected to participate in discussions and the presentation of papers and readings. Class sessions may be augmented by guest lecturers. Assessment will include a final paper, in-class presentations, and other small assignments.

FALL 2025

MUHL 680 Seminar in Musicology 鈥� CRN 4448听| Professor Julie Cumming

Exploring the origins of the Italian madrigal in the early sixteenth century

The first Italian madrigals appear in musical sources in the 1510s; the genre would go on to be the most important Italian secular genre for the rest of the sixteenth century. There are still many questions and multiple theories about the origins of the genre and why it emerged at this time. We will explore readings on how to think about genre in the Renaissance; on other genres of the period; on how to discuss and analyze music of the period; on musical sources (manuscripts and prints), and what we can learn from them. We will also explore a digital humanities approach to comparing musical genres, and language politics of the period. Students will do presentations and podcasts on articles and on compositions; they will transcribe an early madrigal into modern notation; and they will write a seminar paper in three stages: a power-point presentation to the class, an initial draft, which will receive extensive feedback from the professor; and a final draft.

FALL 2025

MUHL 682 Seminar in Musicology 鈥� CRN 4449 | Professor Lloyd Whitesell

Musical Tricksters

Lighten up! In this seminar we will consider the topics of wit, impishness and buffoonery in music, as we try to tap into our inner trickster. Possible topics to be explored include scherzando styles, opera buffa, musical comedy or cartoon characters, avant-garde mavericks like Satie and Oliveros, camp, and musical parodies (e.g., PDQ Bach, Weird Al). Readings will cover theories of humor, Jungian criticism, studies of trickster figures in indigenous and African folklore, as well as recent developments in ludomusicology. Evaluation will be based on class participation, occasional short assignments, and a final paper/presentation.

FALL 2025

MUHL 683 Seminar in Musicology 鈥� CRN 4450 | Professor David Brackett

The Musicology of Record Production

This seminar will provide an introduction to a newly-emergent field of study: The Musicology of Record Production. We will study theoretical models that have influenced the field as well as explore its practical underpinnings, examining the roles and interactions of producers, engineers, and musicians in a wide variety of genres and historical contexts. Coursework will consist of weekly reading/listening/video viewing assignments, participation in class discussions, weekly reading-response papers, a final paper and a 20-30 min. presentation based on this paper.

FALL 2025

MUMT 605 (001) Digital Sound Synthesis & Audio Process 鈥� CRN 4970 | Professor Philippe Depalle

Most digital sound synthesis methods and audio processing techniques are based on the spectral representation of sound signals. This seminar starts with a theoretical and practical study of spectral representation, spectral analysis, and spectral modification of sound signals. Digital sound synthesis and sound processing techniques are then presented as specific spectral modeling or alterations from which their capabilities, properties, and limitations are deduced. Techniques explored in this context include the phase-vocoder, additive synthesis, source-filter synthesis, and audio effects. Available Computer Music software and ad hoc pieces of software are used as examples and illustrations. Evaluation will be based on two assignments (25% each), one in-class presentation (15%), and a final project (35%).

FALL 2025

MUMT 616 (001) Timbre Form-Bearing Dimension in Music 鈥� CRN 4971 | Professor Stephen McAdams

This seminar explores music theoretic, performance-related, psychophysical, and cognitive perspectives on musical timbre and its role as a bearer of musical form, with particular emphasis on the perceptual results of orchestration practice. Evaluation will be based on active participation in class discussions and student-led debates [20%], a 20-minute in-class presentation of an individual project followed by 15 minutes of discussion [20%], and two 45-minutes in-class presentations of group projects (one on analyses of selected pieces of music [25%], one on the results of a thought experiment involving those pieces [35%]), followed by 30 minutes of discussion.

FALL 2025

MUMT 620 (001) Gestural Control of Sound Synthesis 鈥� CRN 4972 | Professor Marcelo Wanderley

This seminar examines the use of computers as part of novel digital musical instruments, including physical gestures and actions, design and evaluation of new interfaces for musical expression, and mapping strategies between gestures and sounds. Evaluation will be based on summaries of papers, student presentation, project proposal, and a project presentation

FALL 2025

MUTH 652 (001) Seminar in Music Theory 鈥� CRN 5099 | Professor Ellen Bakulina

Form in Romantic music

This seminar focuses on the music of the long 19th century through the lens of the New Formenlehre鈥擜nglophone form theories created roughly in the last quarter-century. Readings cover a diverse body of composers, genres, and national styles throughout Europe. We will also spend the first few weeks with theories of 18th-century form. The main focus of the class is on detailed analysis of musical works, and readings serve as basis for analysis. You will analyze at least one piece or excerpt most weeks of the semester. Our inquiry will be primarily motivated by this question: how (if at all) do theories of 18th-century music inform our understanding of Romantic form? Assessment is based on analysis assignments, critique of readings, in-class participation, and the final paper.

FALL 2025

MUTH 653 (001) Seminar in Music Theory 鈥� CRN 5100 | Professor Nicole Biamonte

TTheory and Analysis of Rhythm and Meter

In this seminar we will investigate the organization of musical time in Western music, considering different conceptions of the relationship between meter and rhythm, surveying common rhythmic techniques and relationships, and examining their interactions with other musical parameters such as form, texture and harmony. We will learn and assess theories of rhythm and meter developed in the 20th and 21st centuries, including those of Berry, Lehrdahl and Jackendoff, Krebs, Hasty, Cohn, London, Yust, and others, applying them analytically to both art music and popular music, with discussion of implications for performance. Coursework will consist of weekly readings and analysis assignments, class discussions, and a final project comprising a 3000-word research paper and a 15-minute class presentation. Evaluation will be based on written assignments, participation in class discussion and the final paper and presentation.

FALL 2025

MUTH 654 (001) Seminar in Music Theory 鈥� CRN 5101 | Professor Christoph Neidh枚fer

Musical Meaning in Post-Tonal Composition

How does music convey meaning? How does meaning manifest itself in the compositional procedures themselves? What are the mechanisms by which a work takes on meaning beyond composer intent? How does meaning in tonal music compare to meaning in post-tonal music? We will address these questions through study of the scholarly literature on musical meaning and expression (texts by Theodor W. Adorno, Nicholas Cook, Annika Forkert, Lydia Goehr, Lucy Green, Robert Hatten, David Lidov, Laurel Parsons, John Roeder, Amy Lynn Wlodarski, among others) and through analysis of selected post-tonal compositions from the 20th and 21st centuries. We will look at the compositional process through the lens of the composers鈥� sketches and explore the aesthetic contexts and reception of the works. Examples will be drawn from Cathy Berberian鈥檚 Stripsody and Morsicat(h)y, Luciano Berio鈥檚 Sequenza 3, Elisabeth Lutyens鈥檚 Wittgenstein Motet, Bruno Maderna鈥檚 Quattro lettere, Kaija Saariaho鈥檚 From the Grammar of Dreams, Louise Talma鈥檚 Piano Sonata No. 2, George Theophilus Walker鈥檚 Spatials, among other compositions, as well as from works chosen by the seminar participants. Course requirements include weekly assigned readings, listening, and/or analysis, two in-class presentations, a midterm essay, and a final paper. Performance-analysis of solo or small chamber pieces in class will be especially encouraged.

FALL 2025

MUPP 690 (001) Performance Practice Seminar 鈥� CRN 5043 | Professor Jean-S茅bastien Vall茅e

History and Literature of Large Vocal Forms

This seminar offers a comprehensive examination of the literature of large choral and vocal forms, spanning from the Renaissance period to the 21st century. Students will study specific examples to gain an understanding of the historical, stylistic, and analytical elements that define these works.

By the end of the seminar, students will:

This course provides a well-rounded understanding of large vocal forms and prepares students to analyze, interpret, and perform choral works from various eras.

• Be able to trace the development of vocal/choral genres such as cantata, oratorio, mass, and requiem.
• Gain insights into performance practices to deliver historically accurate interpretations.
• Deepen their analytical and critical thinking skills while engaging with the literature.

FALL 2025

MUPP 690 (002) Performance Practice Seminar 鈥� CRN 8175 |听Professor Richard Stoelzel

Train Your Inner Hero: Overcoming Performance Anxiety

This 13-week course is designed to guide musicians, performers, and high-achieving individuals through Dr. Don Greene鈥檚 powerful strategies for mastering performance anxiety, based on his book Train Your Own Hero. Through weekly readings, exercises, and guided discussions, participants will explore Greene鈥檚 six-stage Hero鈥檚 Journey framework, uncover their personal performance blocks, and develop mental toughness, focus, and confidence. Each week builds upon the last, helping students cultivate self-awareness, emotional resilience, and a toolkit of performance-enhancing techniques. By the end of the course, students will be empowered to face high-pressure situations with calm, clarity, and control鈥攔eady to step into the spotlight with confidence.

FALL 2025

MUPP 691 (001) Performance Practice Seminar 鈥� CRN 5044 | Professor Marina Thibeault

Exploration in Creative Processes and Performance Enhancement Techniques

This course explores artistic legacies and missions, approaches for effective practicing, rehearsal techniques, creative performance practice, and interdisciplinary connections. This weekly seminar comprises dynamic class discussions, workshops with guest presenter(s), and student projects. Its diverse content is aimed at developing skills and philosophical perspectives for the 21st century musician, and will be reflective of the student鈥檚 input.

Through this course, students will be led by their instructor to select a variety of topics identified in the first class and throughout the semester. Reading assignments will be related to the topics chosen together with the students. Students will be asked to choose a research topic for an article to be written individually or in teams of two or three - if their topics are comparable or complementary. Students will gain experience with public speaking by presenting their findings in a presentation of 15 minutes. Research writing skills will also be developed with a 8-10 pages article to be submitted by the penultimate class. Each article will be unique and meant to make a significant contribution for the music community.

FALL 2025

MUPP 692 (001) Performance Practice Seminar 鈥� CRN 5045 | Professor Jacqueline Leclair

Wellbeing for the Professional Musician

During this seminar, we will research and discuss the following topics as related to musician health, professionalism, performance, and music pedagogy: neuroscience related to music practice and performance, sleep, yoga, Alexander Technique, Feldenkrais, Zen Philosophy, psychology, massage therapy, acupuncture/acupressure, cranio-sacral therapy, Reiki, meditation, breathing exercises, stretching, performance anxiety management, injury prevention and recovery, EDI, and efficient practice technique.

Students will develop enhanced abilities to make informed choices about their wellbeing throughout their careers. They will learn to practice with optimum efficiency, safety, and productivity. As future teachers and colleagues, they will develop enhanced abilities to help others with these topics.

The final project for each student will be a paper about a wellbeing topic chosen in consultation with Prof. Leclair, or the equivalent.

FALL 2025

MUPP 693 (001) Performance Practice Seminar 鈥� CRN 5046 | Professor Patrick Hansen

Shakespeare Goes to the Opera!

An exploration of Shakespeare plays and source materials for the plays that themselves are transformed into source material for operas based on his works. What happens to an art form when it changes from one modality, theatre, into another: opera? The theory and practice of Theatrical to Musical transformation.

Students will focus on 7 plays by Shakespeare and the 9 operas based upon those works.

Bibliography:
Shakespeare: A Midsummer Night鈥檚 Dream, Romeo and Juliet, The Merry Wives of Windsor, Othello, Much Ado About Nothing, Macbeth, and Hamlet
Operas: Britten鈥檚 A Midsummer Night鈥檚 Dream, Gounod鈥檚 Rom茅o et Juliette, Bernstein鈥檚 West Side Story, Bellini鈥檚 Capuletti e i Montecchi, Verdi鈥檚 Falstaff, Otello, and Macbeth, Berlioz鈥檚 B茅atrice et B茅n茅dick, and Thomas鈥� Hamlet.

FALL 2025

MUPP 694 (001) Performance Practice Seminar 鈥� CRN 5047 | Professor Fabrice Marandola

Ethnomusicology and Contemporary Performance Practice

In this seminar we will explore how different cultures around the world conceive and perform their music. Through the survey of broad cultural areas where music is primarily orally transmitted, we will study the functioning of different musical systems and the wide variety of playing and singing techniques involved. We will investigate the cultural context in which the music takes place to gain a significant insight on how these cultures conceive their musical heritage.

We will discuss the various ways traditional playing and singing techniques are incorporated in works by 20th and 21st century composers, from Bartok to Reich including Kagel, Ligeti, Scelsi and many more. We will also experiment with the 鈥榩ortability鈥� of these techniques in the context of modern Western instruments and voices. Several experts (composers, performers, ethnomusicologists) will be invited to share their knowledge and perspectives on their practices at the intersection between ethnomusicology, contemporary performance and creation.

Class time will combine lectures, musical analyses, discussions, and performances. Evaluation will be based on two short performance projects, one research paper, as well as on participation and preparation.

FALL 2025

MUPP 695 (001) Performance Practice Seminar 鈥� CRN 5048 | Professors Elizaveta Miller and Ilya Poletaev

Classical Style: A Historically Informed Approach

An in-depth survey of historically informed performance practice as applied to repertoire of the early-to-late Classical era (c. 1760-1830). The seminar will combine reading, discussion, performance and coaching of selected solo and chamber repertoire on both modern and period instruments. The course is open to string, keyboard, woodwinds, and vocal students.

FALL 2025

MUPG 565 (001) Topics in Performance 鈥� CRN 5006 | Professor Liliana Ara煤jo

Mental skills for music performance

This course explores the psychological and emotional aspects of musical performance, equipping students with the mental skills needed to perform with confidence and focus. Informed by performance psychology, students will learn mental strategies to manage emotions, to improve practice quality and performance preparation. They will gain tools to strengthen their mindset and enjoy performing more fully. Students will develop personalized mental preparation routines and engage in weekly guided mental practice, simulated performance, peer-led discussions, and self-reflection.

Priority for registration will be to performance students (undergraduate) and students enrolled in the APS minor, priority 2 to graduate students in performance programs. Please contact the instructor: Liliana.araujo [at] mcgill.ca.

FALL 2025 - This seminar will run from September to April.

MUPG 575D1/D2 (027) Organ Repertoire and Performance Practice 鈥� CRN 8046 | Professor Isabelle Demers

A study of the organ, its repertoire, and the composers who wrote for the instrument, from 1360 to present day.

FALL 2025- This seminar will run from September to April.

MUPG 675D1/D2 (084) Special Project in Performance 1 鈥� CRN 6237 | Professor M茅lanie L茅onard

This seminar is designed for graduate students in performance and composition who wish to develop both technical and theoretical knowledge in orchestral conducting.

Key topics include score preparation and learning all technical and expressive aspects of the gesture.

Classes combine theoretical instruction with hands-on practice. Students will alternate between performing in the class ensemble and conducting it. These sessions serve as a laboratory environment for developing and refining conducting techniques.

Students will be evaluated on class participation, development of basic skills and progress through various exercises and assignments, conducting the ensemble during the semester and for their skill assessment.

This seminar spans two semesters (Fall and Winter). Completion of both parts (D1 and D2) is required to receive full credit for the seminar.

This seminar is not open to conducting students.

FALL 2025

MUPG 677 (001) Seminar in Performance Topics 1 鈥� CRN 5029 | Professor Jacqueline Leclair

Time, Rhythm, and Musician Mental Health

This seminar will examine the history of concepts having to do with absolute time and musical time. For example, when was the concept of absolute time introduced? Greenwich Mean Time? When were musical metronomes invented, and when did they come into widespread use? Looking at the main concepts of musical time: tempo, rubato, coordination, synchronizing, and so on, how have classical musicians managed these issues over the centuries? How do the ways that musicians commonly keep track of time in the present day impact our music making and our mental health? Do the ways we think of and work with rhythm affect our mental health?

What are concrete steps musicians can take to harness the most helpful and productive ways to conceive of time and rhythm in our daily lives to improve our musicianship, confidence, and mental health?

There will be weekly reading assignments, weekly journaling, in-class group discussion, in-class playing and singing demonstrations, and independent research undertaken by each student. The final project will be a research paper or recorded PowerPoint presentation.

FALL 2025

MUPG 678 (001) Seminar in Performance Topics 2 鈥� CRN 5031 | Professor John Hollenbeck

Polyrhythm Practice

Polyrhythm鈥攖he simultaneous layering of multiple rhythmic patterns or pulses鈥攊s a central feature of both traditional and contemporary music. While it may seem abstract or difficult at first, polyrhythm is something we experience daily: your heartbeat, your breath, and your walking pace each follow distinct rhythms, yet you coordinate them effortlessly.

Polyrhythms are becoming increasingly prevalent across a wide spectrum of 21st-century music, from jazz and contemporary classical to electronic and popular genres. As such, the ability to confidently navigate complex rhythmic structures is an essential skill for today鈥檚 musicians.

Mastering polyrhythms can be a significant challenge and there are not a lot of opportunities or studies centered on this important practice. Many musicians are familiar with basic examples such as 3:2, which becomes intuitive over time through repeated exposure. This course is designed to expand that intuitive understanding across a broader range of polyrhythms鈥攆rom 2 to 9鈥攂y developing a structured and practical approach to internalizing them.

This is a group-based practice course focused on hands-on rhythmic training. Through repetition, conscious engagement, and subdivision-based exercises, students will gradually build fluency with a variety of polyrhythmic patterns.

If you play piano or drums, please contact Prof. John Hollenbeck in advance to confirm instrument availability.

(Graduate students will have priority) Guitarists may need to provide their own amplifier.

This graduate seminar is open to all students (including UG) in any degree program and on any instrument, this course provides a focused and immersive experience in polyrhythms 鈥攁n essential toolset for the modern musician.

FALL 2025

MUPG 691 (001) Vocal Ornamentation 鈥� CRN 5034 | Professor Tracy Smith Bessette

Baroque Vocal Ornamentation

This seminar introduces the major treatises of the Baroque era (1600-1750) with emphasis on the practical application of vocal ornamentation for the modern performer. Through the study and discussion of both primary and secondary sources, students will observe and compare national styles. Evaluation will be based on active class discussions, one oral presentation in class and the performance of five pieces with ornamentation appropriate to the national style and time period of the work. One piece from each of the following will be presented: Italian Monody, German Baroque Recitative, English Baroque song or aria, French Baroque Aria or Air de cour, and Handel Opera Seria (da capo aria).

FALL 2025

MUPG 695 (001) Graduate Jazz Improvisation Seminar 鈥� CRN 5035 | Professor R茅mi Bolduc

Advanced Improvisation Seminar

The goal of this seminar is to help students develop their musical voice through the study of improvisational techniques used by various jazz artists. Each class will be divided into two main sections: jazz repertoire and improvisation concepts. Students will have the opportunity to perform and receive feedback from the instructor and their peers, with approximately one-third of class time dedicated to performance. The instructor will begin the seminar by sharing his own ideas and reflections on specific mentors and approaches. Students will then choose artists to study, with the instructor鈥檚 approval, and will complete two transcriptions with written analyses. Weekly assignments based on the material covered in class will support the development of individual expression and technical fluency. The course will emphasize listening, transcription, rhythmic and melodic development, and application of improvisational concepts. By the end of the semester, students are expected to demonstrate a deeper understanding of the jazz language and integrate these concepts into their own improvisations.

WINTER 2026

MUCO 632 Seminar in Composition 鈥� CRN 3578听| Professor Christoph Neidh枚fer听

Also offered as MUTH 655

Advanced Writing Techniques: Analysis and Practice

In this seminar we will study selected compositional procedures across different musical repertoires and explore the writing techniques in practical exercises and model composition projects. Topics include: composing with extended tonal and post-tonal harmonies, composing with contrapuntal devices, composing with rhythmic theories, composing with matrices, composing with timbre, and composing with modes. We will explore source texts and manuals on these topics, including Pierre Boulez鈥檚 Boulez on Music Today, Henry Cowell鈥檚 New Musical Resources, Alois H谩ba鈥檚 New Theory of Harmony, Paul Hindemith鈥檚 The Craft of Musical Composition, Ernst K艡enek鈥檚 Studies in Counterpoint Based on the Twelve-Tone Technique, and Olivier Messiaen鈥檚 Trait茅 de rythme, de couleur, et d鈥檕rnithologie, and will analyze the techniques in works by Norma Beecroft, Luciano Berio, Pierre Boulez, Jean Coulthard, Claire Delbos, Ursula Mamlok, Olivier Messiaen, Luigi Nono, and further composers chosen by the seminar participants. Course requirements include weekly assigned readings, listening, and/or short practical exercises, two in-class presentations, a short midterm model composition and essay, and a final model composition and paper. Participants鈥� compositions will be performed in class.

WINTER 2026

MUGT 610 (001) Seminar 鈥� Music Education 鈥� CRN 3637 | Professor Andrea Creech

Enquiry in Music Pedagogy and Artistic Practice

This seminar promotes critical thinking and an enquiry-based approach to understanding music pedagogy and its relationship with artistic or academic practice. Key questions addressed in this seminar are: 1) what are the signature pedagogies and theoretical frameworks that characterise music disciplines; 2) what are the goals or the functions of those pedagogies, in relation to artistic or academic practice? 3) How does pedagogy intersect with issues around equality, diversity and inclusion? Students will explore these issues and identify the ways in which pedagogies can shape artistic trajectories or academic practice in music, and the ways in which music pedagogy and artistic practice are interrogated in research.

The approach taken includes reflection and peer feedback on participants鈥� own experience, focusing on 鈥榗ritical incidents鈥� and exchange of interdisciplinary perspectives; discussion and problem-solving activities; some direct lecturing input, principally using the 鈥榝lipped classroom鈥� model; plenary discussions, student presentations, and question and answer sessions; and reflection on prepared readings. Students will be assessed through two presentations and one seminar paper where they will have the opportunity to explore a question that is relevant to their own experience and development.

WINTER 2026

MUGT 612 (001) Seminar 鈥� Music Education 鈥� CRN 3639 | Professor Lisa Lorenzino

Leadership for Performers and Pedagogues

This seminar will look at theories and practices related to leadership as related to the field of music. Students will be introduced to topics such as democratic leadership, goal setting, and motivation in an attempt to learn how they can become effective, innovative leaders in the classroom, on the podium, or within a large or small ensemble setting.

Class sessions may be augmented by guest lecturers. Evaluation will include one research paper and an in-class presentation as well as other small assignments.

WINTER 2026

MUGT 613 (001) Seminar 鈥� Music Education 鈥� CRN 3640 | Professor Isabelle Cossette

Understanding the Performing Body

Through the lens of a whole-person approach, this seminar explores how the body works in (un)optimal and (un)healthy ways for music playing. Students will learn about the role and function of some of the main anatomical bodily systems and the associated physiological concepts relevant to music making. The main goal is to develop awareness and critical thinking skills to reflect on common beliefs and scholarly literature on the topic, so students are better equipped to develop a sustainable healthy music career.

Based on the students main interests, topics might include the nervous, musculoskeletal, cardiorespiratory, endocrine and auditory systems as well as nutrition, stress response, and energy expenditure and some of the most common pathologies. Class activities will vary between lectures, peer-feedback sessions, students鈥� presentations and discussions, and hands-on work sessions.

Evaluation will be based on class preparation including online discussions, written reflections, presentation(s), and scaffolded research steps in preparation of an evidence-based final blog-project associated to the student鈥檚 interests and class content.

WINTER 2026

MUHL 681 (001) Seminar in Musicology - CRN 3653 | Professor Althea SullyCole

Graduate Survey of Ethnomusicology

This graduate-level course offers an survey of the field of ethnomusicology, exploring its historical development, key theoretical frameworks, and diverse methodological approaches. Students will examine how music functions within various cultural, social, political, and religious contexts across the globe, with particular attention to issues of identity, globalization, power, and representation.
Through critical engagement with foundational and contemporary ethnomusicological literature, audio-visual materials, and case studies, students will gain a nuanced understanding of the discipline's interdisciplinary nature. Course topics include fieldwork and ethnography, diaspora and transnationalism, indigeneity, gender and sexuality, and the politics of cultural heritage. Students will also reflect on the ethics of music research and the role of the ethnomusicologist in academic and applied contexts.
The course culminates in a research paper that demonstrates students鈥� ability to conduct fieldwork, synthesize scholarly literature, and apply theory to a focused topic of their choice. Throughout the semester, students will develop their research through proposal writing, peer workshops, and instructor feedback.

WINTER 2026

MUHL 683 (001) Seminar in Musicology 鈥� CRN 3654 | Professor Roe-Min Kok

More than Meets the Ear: Self-Presentation and Dress in the Music Industry

The mixed metaphor above calls attention to the importance of visual stimuli on listeners鈥� perceptions and understandings of music. While western classical musicians鈥� physical movements have been studied in this regard (e.g. Davidson 1993), equally valid visuals such as self-presentation and dress remain underexplored in comparison with, for instance, the fashion acumen and stage/ music identities of popular music artistes. The conventions of self-presentation and dress in the western classical music industry in particular invite inquiry into hidden social inequities. With the goal of increasing inclusivity and equity in the field, this seminar asks: How much personal choice goes into the process of cultivating self-presentation and dress as a musician? Do social, financial, and other external pressures play into such decisions; if so, how do performers navigate them? What do musicians stand to gain or lose, respectively, in accepting or resisting established traditions and norms? What kinds of social inequities 鈥� for example, those rooted in gender, race, and class 鈥� may be inherent across current practices? Are there productive ways to re-think and decolonize these? In what ways do musicians connect their self-presentation and dress to their musical skills such as musicality, expressivity, and virtuosity? Against a backdrop of readings in the sociology of the music industry; the power of clothing to signify expression, social status, individualism, and group membership; music psychology and perception; and decolonial theories, this seminar will take participants鈥� own experiences and observations as departure points for collective exploration. Final projects are not restricted in terms of historical eras, cultures, and musical genres, although they must critically analyze and contextualize relationships between self-presentation and dress in music performance and incorporate ideas and/or theoretical concepts from at least 4 class readings. Evaluation will be based on in-class presentations, engagement, a final project proposal, a final project presentation, a final research paper, and professionalism.

WINTER 2026

MUHL 684 (001) Seminar in Musicology 鈥� CRN 3655 | Professor Steven Huebner

Topics in French Music 1875-1925

The seminar is organized in three units. The first centers on ideological context and covers the historiographical and critical issues raised by Jann Pasler鈥檚 The Composer as Citizen. The second unit focusses on recent approaches to fin-de-si猫cle m茅lodie, with examples by Gounod, Chabrier, Debussy, Faur茅, and Ravel. The third examines French music with a classical orientation that looks back to pre-Beethovenian models and considers critical categories such as pastiche and parody in the work of these composers.

WINTER 2026

MUHL 685 (001) Seminar in Musicology 鈥� CRN 3656 | Professor Lisa Barg

Topics in Historiography: Global Musical Modernisms

What does it mean to conceptualize the history of musical modernism as a global phenomenon? In his recent book Musical Modernism in Global Perspective: Entangled Histories on a Shared Planet (2024), Bj枚rn Heile sees the conceptual challenge of such an historiographic undertaking as at once 鈥渋mpossible and necessary.鈥� This seminar digs into this and other historiographical tensions to trace a series of modernist musical border crossings (both real and imagined) through multiple music-historical routes and archives encompassing popular and concert music traditions. Along the way, we will critically examine the concept, politics, and practices of musical modernism(s) in relation to histories and technologies of race and gender, transnationalism, cosmopolitanism, (post)colonialism, and diaspora. Readings will be drawn from a variety of disciplines (including musicology, ethnomusicology, jazz and popular music studies, modernist studies, feminist and critical race theory), and case studies will traverse a global musical field through a variety of venues, performance contexts, and media cultures. Evaluation will be based on presentations, written commentaries on seminar materials, seminar participation, and a final research paper.

WINTER 2026

MUMT 621 (001) Mus. Info,Retr.,Acq.,Preserv. 鈥� CRN 4136 | Professor Ichiro Fujinaga

This seminar will investigate current research activities in the area of music information retrieval. The goal is to discover ways to efficiently find and retrieve musical information. Although the field is relatively new, it encompasses various music disciplines including music analysis, music education, music history, music theory, music psychology, and audio signal processing.

Each student will be expected to present various music information retrieval topics along with literature reviews. The final project may consist of software development, a theoretical paper, or an extended review paper. Class format will be presentations followed by discussions.

Potential topics include: Music databases, audio content analysis and search, music similarities, automatic music transcription, beat tracking, timbre recognition, speech / music separation, audio and music formats (MPEG-4/7/21, MP3, MEI, MusicXML), and machine learning for music information retrieval. Students will be evaluated on the quality of the presentations, written assignments, class participation, and the final project.

Evaluation will be based on assignments (50%), class participation (10%), and a final project (40%).

WINTER 2026

MUMT 622 (001) Time-Frequency & Parameter Rep. of Sounds 鈥� CRN 4137 | Professor Philippe Depalle

In this seminar the current trends of research on time-frequency representation and parametric modelling and their use in the context of musical and audio applications will be discussed. More specifically, time-frequency distribution, wavelets, matching pursuit, and sparse time-frequency representation will be introduced; and their comparative merits will be discussed. In a second part the use of parametric modelling as the analysis part of current sound synthesis techniques will be presented. Evaluation is based on in-class research literature presentations (48%), and on a final project (40% for the project), and 12% for its presentation.

WINTER 2026

MUSR 692 (001) Music Production Workshop 鈥� CRN 4231 | Professor Martha DeFrancisco

A Graduate Seminar for Performance and Sound Recording Students

The seminar focuses on the collaborative interaction between performing and recording partners during music recordings. It explores aesthetical questions of performance and recording, and it examines music performance issues in connection with the use of changing technological tools for recording and music production. Discussions are lead regarding the historical development of music production, and an updated analysis of current developments in the recording industry is provided.

The production sessions under the supervision of an expert music producer, realized as part of the seminar, help students acquire insight in the musical, technical and logistical processes that characterize professional music productions, giving both sides suitable tools to enhance their potential as recording artists in the 21st century.

Evaluation will be based on in-class participation and presentations, individual work on the music productions as well as a final research paper or a completed Master of an own production project with a written description/analysis.

WINTER 2026

MUTH 655 (001) Seminar in Music Theory 鈥� CRN 4253 | Professor Christoph Neidh枚fer

Also offered as MUCO 632

Advanced Writing Techniques: Analysis and Practice

In this seminar we will study selected compositional procedures across different musical repertoires and explore the writing techniques in practical exercises and model composition projects. Topics include: composing with extended tonal and post-tonal harmonies, composing with contrapuntal devices, composing with rhythmic theories, composing with matrices, composing with timbre, and composing with modes. We will explore source texts and manuals on these topics, including Pierre Boulez鈥檚 Boulez on Music Today, Henry Cowell鈥檚 New Musical Resources, Alois H谩ba鈥檚 New Theory of Harmony, Paul Hindemith鈥檚 The Craft of Musical Composition, Ernst K艡enek鈥檚 Studies in Counterpoint Based on the Twelve-Tone Technique, and Olivier Messiaen鈥檚 Trait茅 de rythme, de couleur, et d鈥檕rnithologie, and will analyze the techniques in works by Norma Beecroft, Luciano Berio, Pierre Boulez, Jean Coulthard, Claire Delbos, Ursula Mamlok, Olivier Messiaen, Luigi Nono, and further composers chosen by the seminar participants. Course requirements include weekly assigned readings, listening, and/or short practical exercises, two in-class presentations, a short midterm model composition and essay, and a final model composition and paper. Participants鈥� compositions will be performed in class.

WINTER 2026

MUTH 657 (001) Seminar in Music Theory 鈥� CRN 4255 | Professor Peter Schubert

Contrepoint, que me veux-tu?

The title of this seminar (鈥淐ounterpoint, what do you want from me?鈥� after Fontanelle鈥檚 famous bon mot) asks what the role of counterpoint study might be to a present-day scholar or music student. We will look at how it might interact with other areas of musical study, including analysis, form, harmony, improvisation, musicology, partimento, and pedagogy. We will read old and new counterpoint treatises, analytical articles (including some of the twenty-two articles Prof. Schubert has published on matters contrapuntal), and we will look at repertoire suggested by class members. Evaluation will be based on one reading report, two quizzes, and a final paper on a topic arising out of class readings and discussion. The paper may be historical, analytical, or theoretical, and it may include original musical examples.

WINTER 2026

MUTH 659 (001) History of Music Theory 2 鈥� CRN 4256 | Professor Robert Hasegawa

Selected topics in the history of music theory from 1700 to the present through readings of primary and secondary literature. This course focuses on major works of Western music theory, starting with thoroughbass treatises in the early eighteenth century and continuing through a survey of writings by authors including Rameau, Kirnberger, Koch, Marx, Weber, F茅tis, Helmholtz, Riemann, Schenker, and Schoenberg. In addition to close study of primary and secondary sources, the course will consider the evolving relationship between theory and practice and critically examine the formation of a Western music theory canon. Coursework will include weekly reading and writing, in-class discussion and presentations, and a final research paper.

WINTER 2026

MUPP 690 (001) Performance Practice Seminar 鈥� CRN 4197 | Professor Tracy Smith-Bessette

Vocal Ornamentation - Mozart to Bellini

This seminar provides an introduction to the major treatises of the Classical and early nineteenth-century Bel Canto eras with emphasis on the practical application of vocal ornamentation for the modern performer. Through the study and discussion of both primary and secondary sources, students will observe and compare national styles and time periods. Evaluation will be based on active participation in class discussions, one oral presentation in class, the sung performance of 2 arias (one from the Classical era and one from the Bel Canto era) with ornamentation appropriate to the national style and time-period of the work, and a final term paper.

Students will explore various methods to enhance their readiness for both orchestral brass auditions and university teaching position interviews. Key areas of focus will include:

WINTER 2026

MUPP 693 (001) Performance Practice Seminar 鈥� CRN 4200 | Professor Fabrice Marandola

Pedagogy of Interpretation, Pedagogy of Performance

In this seminar we will explore different teaching techniques related to musical performance. We will discuss different approaches to the pedagogy of interpretation, as well as the phenomena of traditions, Schools and historical interpretation. The concept of expressiveness in music performance will be examined, and we will question its implication on musical teaching. We will evaluate the role and the importance of the pedagogical repertoire in the elaboration of a curriculum, and we will examine how to set goals adapted to a given category of learners.

Cognitive aspects of musical education will be investigated (encoding, mnemonic, visualisation, verbalisation), and the comparison of Western musical teaching practices with the traditions of cultures where the transmission of the musical knowledge is merely oral will help to investigate the importance of musical immersion, observation, memorisation and improvisation. In contrast, we will explore methods involving new technologies (aural, haptic and visual feedback). Observation of teaching situations and mock teaching sessions will be organised to put into practice some of the principles addressed during the seminar.

Student evaluation will be based on two oral presentations, one observation report of teaching situations, one paper based on the elaboration of a curriculum, as well as in class participation and preparation.

WINTER 2026

MUPP 694 (001) Performance Practice Seminar 鈥� CRN 4201 | Professor M茅lanie L茅onard

Artistic leadership

This seminar explores foundational leadership principles within the context of artistic direction. Participants will learn about the essential qualities and competencies of effective leaders, with a focus on their application in the artistic and musical field.

We will study the scope of responsibilities of an artistic director, including defining an artistic vision, how to build a concert season and programs to reflect the core values of an organization, public speaking, working with a board of directors, building a community presence and developing necessary tools to be an efficient and positive leader.

WINTER 2026

MUPP 695 (001) Performance Practice Seminar 鈥� CRN 4202 | Professor Jacqueline Leclair

Wellbeing for the Professional Musician

During this seminar, we will research and discuss the following topics as related to musician health, professionalism, performance, and music pedagogy: neuroscience related to music practice and performance, sleep, yoga, Alexander Technique, Feldenkrais, Zen Philosophy, psychology, massage therapy, acupuncture/acupressure, cranio-sacral therapy, Reiki, meditation, breathing exercises, stretching, performance anxiety management, injury prevention and recovery, and efficient practice technique.

Students will develop enhanced abilities to make informed choices about their wellbeing throughout their careers. They will learn to practice with optimum efficiency, safety, and productivity. As future teachers and colleagues, they will develop enhanced abilities to help others with these topics.

Final projects will be a paper about a wellbeing topic chosen in consultation with Prof. Leclair, or the equivalent.

WINTER 2026

MUPG 590 (001) Vocal Styles and Conventions 鈥� CRN 4165 | TBA

This seminar emphasizes vocal performance practices through practical application: text, language, inflection, pronunciation and interpretation considered with the individuality of each student鈥檚 voice and technical development. After examining historical treatises, students will discuss and present musical selections using modern performance standards while remaining true to the stylistic demands of each period.

WINTER 2026

MUPP 692 Performance Practice Seminar 鈥� CRN 4199 | Professor Richard Stoelzel

Audition Preparation for Orchestral and University Positions

This course is designed for students preparing for orchestral auditions and university teaching positions. It aims to equip students with the skills and strategies needed to excel in these highly competitive environments.

Students will explore various methods to enhance their readiness for both orchestral brass auditions and university teaching position interviews. Key areas of focus will include:

• Preparing and recording audition materials
• Developing comprehensive audition lists from start to finish
• Sight-reading proficiency
• Effective listening and speaking skills
• Navigating interview situations
• Competition strategies
• Breathing techniques and nervousness management

Students will work on actual orchestral audition lists, pre-screening recordings for orchestras, and materials for master's and doctoral level positions. Emphasis will be placed on achieving a high-quality sound, understanding recording techniques, mastering style, rhythm, and pitch, as well as preparing for a university audition recital.

Assessment will be based on class preparation and participation, including in-class performances and speaking engagements, book reports, and recordings of selected audition lists. Students will also participate in mock auditions with peers, which will be videotaped for review. The final exam will consist of a presentation of a videotaped live audition of a pre-selected audition list or a 20鈥�30-minute recital preparation, along with live in-class mock auditions. Throughout the semester, students will complete various assignments, including book reports and listening exercises.

WINTER 2026

MUPG 677 (088) Seminar in Performance Topics 1 鈥� CRN 4187 | Professor Jean-Michel Pilc

Improvisation in All Languages

The goal of this seminar is the acquisition of fluency in improvisation, in all musical idioms (classical, jazz, pop, world etc.) and on all instruments. More generally, it will address the subject of how to make music in a natural and idiomatic way, regardless of the style.

The process at work will be based on the way spoken language is learnt and mastered, and also rooted in my own experience discovering music, improvising, and learning jazz and other kinds of music through oral tradition. We will show that improvisation, often and wrongly seen as the difference between classical and jazz, is, on the contrary, the main bridge between all styles of music, and the essential ability to perceive and express music organically, naturally and spontaneously, and to communicate musical ideas instantaneously when playing the instrument - the latter being, in the spoken language analogy, the musician鈥檚 鈥渟peech organ.鈥�

We will explore the specificities of each musical idiom 鈥� its own 鈥渨ords鈥�, rhythms, accents etc. 鈥� and will learn how to develop practicing methods and a personal approach by deep listening, imitation, playing along, manipulation, trial and error, self-editing, assimilation and evolution through time. "Fluency tests" will be used and experimented with, as well as exercises devised to become better at these tests. Hence we will develop the ability to fully experience the musical act and speak the language of music freely and meaningfully at the instrument, while still being creative away from it.

Many other topics will be covered, such as ear training and tuning, the 3 鈥渂ookends鈥� of music (rhythm, melody, and bass), feeling, tempo, swing and groove, phrasing and articulation, internalization, and using the multitasking ability of the human brain in order to become a successful improviser / instant composer / storyteller. We will draw inspiration from many different styles of music, and the students will be exposed to a wide selection of musical pieces (from recordings and also from live performances by teacher and students).

Taking example on masters such as Mozart or Charlie Parker, we will realize that improviser, composer, interpreter and performer are actually different sides of the same entity; and also, transcending the clich茅 of 鈥渃lassical player who can鈥檛 play jazz鈥� (or vice versa), we will discover that the many languages of music can be understood and spoken by all those who are willing to embrace their authenticity and their richness.

This class, like any language learning experience, will require the active participation of each student, as a listener, performer, and practitioner. Evaluation will be based on the participation, progress, motivation and creative energy of each student during the seminar, as well as on presentations and special projects by students, which will be an essential component of the seminar. 2 assessments will be made (mid-term and end of term).

WINTER 2026

MMUPG 677 (390) Seminar in Performance Topics 1 鈥� CRN 4189 | Prof. Darrell Green

Introduction To The Drum Set As Applied To Jazz Drumming

The history of Jazz from the perspective of the drums, exploring the evolution of jazz drumming, the intersection of culture and community, and how the drum set has shaped Jazz and popular music from the early 1900s to the present. This exploration will be through literature, audio/video recordings, and interviews. Upon completion of this course, the student will understand the origin of jazz drumming, be able to distinguish between the varying rhythmic styles of drumming throughout the 19th century and know their importance to the evolution of the music. We will identify significant historical figures in jazz drum history and their contributions. Course requirements include assigned readings, listening, analysis, class discussions, a midterm exam, and a final exam.

REGISTRATION

Registration in seminars is usually limited to 12 students per class (14 for Performance Practice (MUPP) and Performance (MUPG) seminars. In cases where too many students have registered for a seminar, some students may be asked to drop the course. The following priority list will be followed:

1. Music students in a specific program for whom the seminar is required and who need the seminar to graduate in the year in which it is offered.
2. Music students in a specific program for whom the seminar is required.
3. Music students in a specific program for whom the seminar is an elective seminar.

4. Other 51吃瓜网students in graduate programs (music and non-music).
5. Visiting graduate students.
6. 51吃瓜网undergraduate music students who have the necessary prerequisites.
7. Other 51吃瓜网undergraduate students who have the necessary prerequisites.
8. Visiting undergraduate music students.
9. Special Students.

If you cannot register on MINERVA for a course you would like to take, contact the instructor by email to indicate your interest and attend the first class.

DO NOT REGISTER FOR MORE THAN 2 seminars per semester.