Notes: FLIP, taught in French. Les connaissances de base de la musique européenne des XVIIIe, XIXe et XXe siècles seront introduites aux étudiant(e)s. Outre l¿information historique, le cours présentera des notions techniques qui permettront aux amateurs d¿écouter des ?uvres de musique de chambre, symphonique et opératique plus en profondeur. Durant le semestre, les étudiant(e)s seront invité(e)s d¿assister à plusieurs concerts. Pour ce cours, la capacité de lire la musique est certainement un avantage, mais elle n¿est pas une obligation. Nous examinerons aussi les contextes sociologiques dans lesquels cette musique a évolué. Par ailleurs, les devoirs seront conçus pour renforcer les techniques de recherche et la capacité des étudiant(e)s à communiquer oralement et par écrit.

Notes: The String Quartet in the Twentieth Century. No other genre epitomises better the ideology of the new that underpinned, indeed dominated the composition of art music in the twentieth century than the string quartet. Over the past hundred years, the string quartet provided composers and performers a strong framework, based on a performance tradition dating back to the middle of the eighteenth century, within which they could imagine what music can possibly be. The seminar will thoroughly explore this dialectical relationship.

Notes: FLIP, taught in French. Les connaissances de base de la musique européenne des XVIIIe, XIXe et XXe siècles seront introduites aux étudiant(e)s. Outre l¿information historique, le cours présentera des notions techniques qui permettront aux amateurs d¿écouter des œuvres de musique de chambre, symphonique et opératique plus en profondeur. Durant le semestre, les étudiant(e)s seront invité(e)s d¿assister à plusieurs concerts. Pour ce cours, la capacité de lire la musique est certainement un avantage, mais elle n¿est pas une obligation. Nous examinerons aussi les contextes sociologiques dans lesquels cette musique a évolué. Par ailleurs, les devoirs seront conçus pour renforcer les techniques de recherche et la capacité des étudiant(e)s à communiquer oralement et par écrit.

Notes: The purpose of this seminar is to examine the role that John Roberts played as head of Radio Music at the CBC during the years leading up to and following the Centennial celebration in 1967. This was a period during which Canadian composers (John Beckwith, R. Murray Schafer, John Weinzweig, et al.) and performers (Glenn Gould) had unprecedented access to technology and resources allowing them to produce and promote their art. The seminar will coincide with the opening of the John Roberts Fonds (Special Collections, TFDL). This should provide an opportunity for students registered in this seminar to acquire archival skills, while at the same time studying the history of music and the growth of cultural infrastructure in Canada.

Notes: The purpose of this seminar is to examine the role that John Roberts played as head of Radio Music at the CBC during the years leading up to and following the Centennial celebration in 1967. This was a period during which Canadian composers (John Beckwith, R. Murray Schafer, John Weinzweig, et al.) and performers (Glenn Gould) had unprecedented access to technology and resources allowing them to produce and promote their art. The seminar will coincide with the opening of the John Roberts Fonds (Special Collections, TFDL). This should provide an opportunity for students registered in this seminar to acquire archival skills, while at the same time studying the history of music and the growth of cultural infrastructure in Canada.

Notes: This seminar will examine what happens when composers and their music move. We will consider how ideas of place and identity impinge on the creation and interpretation of twentieth-century art music. Our primary objects of study will be a broad range of composers, performers and scholars whose careers and work were influenced by the catastrophic events that marked the past hundred years. Among these will be musicians who chose to come to Canada (István Anhalt and Oscar Morawetz, to name only two). In cases such as these we will investigate the reciprocal relationship that exists between artistic endeavour and a sense of place. (NB while music literacy is certainly an asset, it is not a requirement. Students who cannot read music can take the course for credit and will not be handicapped.)

Notes: Combined with MUSI 631

Notes: Combined with MUSI 531

Notes: Combined with MUSI 633. Topic: Arnold Schoenberg and the "true message in the bottle"

Notes: Combined with MUSI 535. Topic: Arnold Schoenberg and the "true message in the bottle"

Notes: Combined course MUHL 571.08 & MUHL 671 - Glenn Gould.

Notes: Combined course MUHL 551 & 651. Location: Taylor Digital Library room 316.

Notes: Prerequisites: MUHL 201, 203, 301 and 305.