Students will be allowed to choose from a variety of breadth courses. These courses span a broad range of disciplines including sociology, psychology, philosophy, history, economics, and geography, among others. Elective offerings will vary from semester to semester.

Academic Writing
ENGL 102 Academic Writing and Critical Reasoning: Business and Society
ENGL 103 Academic Writing and Critical Reasoning: Imagination, Self and Society
ENGL 104 Academic Writing and Critical Reasoning: Approaches to Literature
ENGL 105 Academic Writing and Critical Reasoning: Individuals and Communities
ENGL 106 Academic Writing and Critical Reasoning: Ecology, Nature and Society
ENGL 107 Academic Writing and Critical Reasoning: Popular Culture

Anthropology
ANTH 200 Principles of Anthropology

Economics
ECON 200 Money, Markets and Democracy
ECON 402 Business in Politics ˗ Advanced

History
HIST 200 Canadian Studies: The Challenge Ahead

Humanities
HUMA 200 Film: Styles, Narratives and Techniques of the Moving Image
HUMA 405 Shakespeare and Film
HUMA 406 Desire and Discontent ˗ Advanced
HUMA 408 Good and Evil ˗ Advanced
HUMA 413 Justice: Philosophical and Literary Perspectives ˗ Advanced

Literature
HUMA 201 Trauma and Memory in Literature
HUMA 202 Betrayal in Contemporary Fiction
HUMA 403 Love Stories

Philosophy
PHIL 201 The Good Life
PHIL 203 Ethics and Moral Theory
PHIL 205 Love and Sex: Philosophical Perspectives
PHIL 402 Knowing and Believing ˗ Advanced
PHIL 404 How is Society Possible ˗ Advanced
PHIL 405 Theories of Beauty
PHIL 409 Brainstorm ˗ Advanced
PHIL 412 People, Mind and Body: Selfish Thoughts ˗ Advanced
PHIL 413 Business and Professional Ethics: Your Money and Your Life

Political Science
POLS 200 Introduction to Politics
POLS 201 Human Security and World Disorder
POLS 202 Canada and the World: Trade, Diplomacy and War
POLS 212 The Corporation in Society
POLS 250 Power: 701
POLS 401 War and Morality
POLS 410 Leadership ˗ Advanced
POLS 451 Power: 702: The Question of Legitimation ˗ Advanced

Psychology
PSYC 200 Introduction to Psychology
PSYC 402 Lifespan Development
PSYC 404 Personality Psychology

Science
RSMT 201 Qualitative Research Methods
SCIE 200 Astronomy
SCIE 202 Introduction to Environmental Studies
SCIE 203 Science Matters: Introduction to the Sciences
SCIE 403 Scientific Achievements ˗ Advanced

Sociology
SOCI 200 Sociology of Health
SOCI 201 Principles of Sociology
SOCI 202 Canadian Families: Past, Present and Future
SOCI 204 Sociology of the Everyday
SOCI 401 Sociology of Consumption ˗ Advanced
SOCI 402 The Sociology of Technology ˗ Advanced
SOCI 450 City Life: 702 ˗ Advanced

MAJ. 101 Major Instrument Private Lesson 2 - Bass
Each course is a series of private lessons on double bass or electric bass, dealing with all aspects of professional bass playing. There are a series of half-hour lessons per semester, designed to address each student's particular interests and needs.

MAJ. 103 Major Instrument Private Lesson 2 – Guitar
These courses provide an in-depth study and analysis of the various styles and techniques involved in modern guitar playing. Each student is put on an individual course of study, which relates to his or her particular needs.

MAJ. 105 Major Instrument Private Lesson 2 - Keyboard
These courses are comprised of 13, one-hour private lessons (first semester), and 12, one-hour lessons (second semester) in piano. They are designed to offer a basic study of the essential concepts used by the professional keyboardist. Material covered will be based on the individual needs of the student and may include coaching in ensemble music. The second semester will help the student prepare for his/her jury.

MAJ. 107 Major Instrument Private Lesson 2 - Percussion
This course is comprised of a series of half-hour private lessons in percussion/drum set personally designed for each individual, stressing the continuing development of the student's understanding of and performance capability in areas of: style, time, technique, reading, phrasing, soloing and ensemble performance.

MAJ. 109 Major Instrument Private Lesson 2 - Trombone
Major Instrument Trombone 1 through 6 consists of weekly, half-hour private lessons. The student will be instructed in all areas of trombone technique, all styles of music, and performance skills.

MAJ. 111 Major Instrument Private Lesson 2 - Trumpet
Major Instrument Trumpet 1 through 6 consists of weekly, half-hour private lessons. The student will be instructed in all areas of trumpet technique, all styles of music, and performance skills.

MAJ. 113 Major Instrument Private Lesson 2 - Voice
Major Instrument Private Vocal Lessons 112 and 113 are series of 13, one-on-one, weekly, one-hour lessons designed for each student according to his or her individual needs. The student is instructed in vocal technique; stylistic work including phrasing, dynamics, time feel, interpretation of a variety of genres and improvisation; performance skills; rhythm reading and sight singing, and developing good practice routines and general self-discipline.
At the end of the first year, students must take a showcase jury performance exam that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. The showcase is 20 minutes in length and comprised of 11 pieces: eight required compositions, and three selections (one classical) chosen by the student in consultation with their major instrument private instructor. All material for the jury must be memorized.

MAJ. 115 Major Instrument Private Lesson 2 - Woodwind
Major Instrument Private Lesson is a series of 13, one-on-one lessons on a student's major instrument (saxophone, clarinet, or flute). It consists of a weekly, one-hour lesson designed for each student according to his or her individual needs. The student is instructed in all areas pertaining to their instrument including tone production, technique, time, feel, reading, phrasing, improvisation, musicality, and ensemble performance.
Students meet with their private teacher individually once per week. Teachers provide verbal feedback, demonstrate/perform effective techniques, assign weekly work, introduce pertinent concepts, introduce the masters of the instrument through sound recordings and design a course of study for each student.

MAJ. 119 Major Instrument Private Lesson 2 - Violin
Major Instrument Private Violin Lesson is a series of 13, one-on-one lessons. It consists of a weekly, one-hour lesson designed for each student according to his or her individual needs. The student is instructed in all areas pertaining to their instrument including tone production, technique, time, feel, reading, phrasing, improvisation, musicality, and ensemble performance.
 

MAS. 101 Master Class 2 – Bass
This course is a continuation of Master Class 1, which provides an introduction to the most important concepts of bass playing. It supplements private lessons, and offers a unique opportunity for bassists to learn from each other in a group environment. The main emphasis is on creating a solid foundation for developing musicality and professional skills on the bass.

MAS. 103 Master Class 2 - Guitar
This course continues from Master Class 1 by further developing technique and musical literacy on the guitar. Emphasis is placed on solving the problems that frequently arise in professional playing situations.

MAS. 107 Master Class 2 - Percussion
This course is designed to supplement the Major Instrument Private Lesson continuing on after semester one. As in Master Class 1, basic principles are reinforced and expanded in the areas of technique, time, style, reading, phrasing, practice, stress management, organization, ensemble and solo performance.

MAS. 111 Master Class 2 – Brass
This two-semester course is designed as an extension of the Private Lesson. The overall purpose of the course is to familiarize the student with all areas of brass playing production. Weekly lectures will investigate; breathing, tongue level, slurs, tonguing, practice guidelines, nerves, mouthpiece placement, teeth and gum care and pedal tones. Modern, classical and jazz phrasing and reading will also be a part of the weekly class. Assignments will include record lifts, as well as performance elements for jury presentation.

MAS. 113 Master Class 2 - Vocal
This is a one-semester course dealing with topics of common interest to vocalists. It is a supplement to, and extension of the private lesson, dealing with vocal technique, interpretation of various styles, harmony work, performance skills and developing positive vocal attitudes and work habits.

MAS. 115 Master Class 2 - Woodwind
This course complements the major instrument private lesson. Concepts provided in this class will allow the student to better improve as a woodwind performer. Emphasis will be given to developing a solid practice routine, learning the proper techniques of playing the instrument and in class performance with feedback designed to improve these techniques.
 

MAS. 101 Master Class 2 – Bass
This course is a continuation of Master Class 1, which provides an introduction to the most important concepts of bass playing. It supplements private lessons, and offers a unique opportunity for bassists to learn from each other in a group environment. The main emphasis is on creating a solid foundation for developing musicality and professional skills on the bass.

MAS. 103 Master Class 2 - Guitar
This course continues from Master Class 1 by further developing technique and musical literacy on the guitar. Emphasis is placed on solving the problems that frequently arise in professional playing situations.

MAS. 107 Master Class 2 - Percussion
This course is designed to supplement the Major Instrument Private Lesson continuing on after semester one. As in Master Class 1, basic principles are reinforced and expanded in the areas of technique, time, style, reading, phrasing, practice, stress management, organization, ensemble and solo performance.

MAS. 111 Master Class 2 – Brass
This two-semester course is designed as an extension of the Private Lesson. The overall purpose of the course is to familiarize the student with all areas of brass playing production. Weekly lectures will investigate; breathing, tongue level, slurs, tonguing, practice guidelines, nerves, mouthpiece placement, teeth and gum care and pedal tones. Modern, classical and jazz phrasing and reading will also be a part of the weekly class. Assignments will include record lifts, as well as performance elements for jury presentation.

MAS. 113 Master Class 2 - Vocal
This is a one-semester course dealing with topics of common interest to vocalists. It is a supplement to, and extension of the private lesson, dealing with vocal technique, interpretation of various styles, harmony work, performance skills and developing positive vocal attitudes and work habits.

MAS. 115 Master Class 2 - Woodwind
This course complements the major instrument private lesson. Concepts provided in this class will allow the student to better improve as a woodwind performer. Emphasis will be given to developing a solid practice routine, learning the proper techniques of playing the instrument and in class performance with feedback designed to improve these techniques.
 

This course is the second of three that examines the history and culture of contemporary music in North America. It surveys the stylistic development of contemporary music from the end of the Swing Era to the late 1960s. Genres include Bebop, cool jazz and hard bop, free jazz, rumba, rhythm and blues, doo-wop, Soul music, early rock and roll and rockabilly, country and western, bluegrass, the folk revival, the British invasion, the Beatles, and psychedelic rock.

This course is designed to develop musical sensitivity, as well as perception and control of the elements of contemporary music through a variety of exercises in listening, singing, playing, and transcribing. Students will master intermediate-level rudiments of melody, harmony and rhythm necessary for transcription and sight singing.

This course builds on Functional Piano Keyboard 1, by further expanding and solidifying the use of the keyboard as a learning tool. Chord spelling, lead-sheet playing strategies, chord-scale relationships, the blues progression, and II - V - I voicings are the primary focus, thereby facilitating and supporting the students' learning efforts in many other areas of the curriculum.

This course applies the theoretical knowledge of basic music vocabulary to the analysis of chord progressions, melodies, rhythms and song forms. Simple chord progressions such as minor blues and rhythm changes are introduced, and students are given further analytical tools. Topics include chord function and substitution (like-function, tritone and subdominant minor), Roman numeral analysis, voice leading, asymmetrical time signatures, harmonic rhythm, advanced chord structures and modes of the melodic minor and harmonic minor scales.
The Improvisation Lab component applies many of the theoretical concepts introduced in the course and develops the performer’s ability to improvise both vocally and instrumentally on standard repertoire using a variety of scales and harmonies in different musical styles (bebop, blues, funk, contemporary jazz and various Latin styles). Performance practice, stylistic nuance and the application of music theory and aural training are assessed.
 

Students will be allowed to choose from a variety of breadth courses. These courses span a broad range of disciplines including sociology, psychology, philosophy, history, economics, and geography, among others. Elective offerings will vary from semester to semester.

Academic Writing
ENGL 102 Academic Writing and Critical Reasoning: Business and Society
ENGL 103 Academic Writing and Critical Reasoning: Imagination, Self and Society
ENGL 104 Academic Writing and Critical Reasoning: Approaches to Literature
ENGL 105 Academic Writing and Critical Reasoning: Individuals and Communities
ENGL 106 Academic Writing and Critical Reasoning: Ecology, Nature and Society
ENGL 107 Academic Writing and Critical Reasoning: Popular Culture

Anthropology
ANTH 200 Principles of Anthropology

Economics
ECON 200 Money, Markets and Democracy
ECON 402 Business in Politics ˗ Advanced

History
HIST 200 Canadian Studies: The Challenge Ahead

Humanities
HUMA 200 Film: Styles, Narratives and Techniques of the Moving Image
HUMA 405 Shakespeare and Film
HUMA 406 Desire and Discontent ˗ Advanced
HUMA 408 Good and Evil ˗ Advanced
HUMA 413 Justice: Philosophical and Literary Perspectives ˗ Advanced

Literature
HUMA 201 Trauma and Memory in Literature
HUMA 202 Betrayal in Contemporary Fiction
HUMA 403 Love Stories

Philosophy
PHIL 201 The Good Life
PHIL 203 Ethics and Moral Theory
PHIL 205 Love and Sex: Philosophical Perspectives
PHIL 402 Knowing and Believing ˗ Advanced
PHIL 404 How is Society Possible ˗ Advanced
PHIL 405 Theories of Beauty
PHIL 409 Brainstorm ˗ Advanced
PHIL 412 People, Mind and Body: Selfish Thoughts ˗ Advanced
PHIL 413 Business and Professional Ethics: Your Money and Your Life

Political Science
POLS 200 Introduction to Politics
POLS 201 Human Security and World Disorder
POLS 202 Canada and the World: Trade, Diplomacy and War
POLS 212 The Corporation in Society
POLS 250 Power: 701
POLS 401 War and Morality
POLS 410 Leadership ˗ Advanced
POLS 451 Power: 702: The Question of Legitimation ˗ Advanced

Psychology
PSYC 200 Introduction to Psychology
PSYC 402 Lifespan Development
PSYC 404 Personality Psychology

Science
RSMT 201 Qualitative Research Methods
SCIE 200 Astronomy
SCIE 202 Introduction to Environmental Studies
SCIE 203 Science Matters: Introduction to the Sciences
SCIE 403 Scientific Achievements ˗ Advanced

Sociology
SOCI 200 Sociology of Health
SOCI 201 Principles of Sociology
SOCI 202 Canadian Families: Past, Present and Future
SOCI 204 Sociology of the Everyday
SOCI 401 Sociology of Consumption ˗ Advanced
SOCI 402 The Sociology of Technology ˗ Advanced
SOCI 450 City Life: 702 ˗ Advanced

MAJ. 200 Major Instrument Private Lesson 3 - Bass
Each course is a series of private lessons on double bass or electric bass, dealing with all aspects of professional bass playing. There are a series of half hour lessons per semester, designed to address each student's particular interests and needs.

MAJ. 202 Major Instrument Private Lesson 3 - Guitar
These courses provide an in-depth study and analysis of the various styles and techniques involved in modern guitar playing. Each student is put on an individual course of study, which relates to his or her particular needs.

MAJ. 204 Major Instrument Private Lesson 3 - Keyboard
These courses are comprised of 13, one-hour private lessons (first semester), and 12 one-hour lessons (second semester) in piano. They are designed to offer a basic study of the essential concepts used by the professional keyboardist. Material covered will be based on the individual needs of the student and may include coaching in ensemble music. The second semester will help the student prepare for his/her jury.

MAJ. 206 Major Instrument Private Lesson 3 - Percussion
This course is comprised of a series of half-hour private lessons in percussion/drum set personally designed for each individual, stressing the continuing development of the student's understanding of and performance capability in areas of: style, time, technique, reading, phrasing, soloing and ensemble performance.

MAJ. 208 Major Instrument Private Lesson 3 - Trombone
Major Instrument Trombone 1 through 6, consist of weekly, half-hour private lessons. The student will be instructed in all areas of trombone technique, all styles of music, and performance skills.

MAJ. 210 Major Instrument Private Lesson 3 - Trumpet
Major Instrument Trumpet 1 through 6, consist of weekly, half-hour private lessons. The student will be instructed in all areas of trumpet technique, all styles of music, and performance skills.

MAJ. 212 Major Instrument Private Lesson 3 - Vocal
Major Instrument Private Vocal Lessons 212 and 213 are series of 13, one-on-one, weekly, one-hour lessons designed for each student according to his or her individual needs. The student will continue to work on developing good practice routines and general self-discipline and continue to work on his/her vocal skills at a more advanced level including: vocal technique; stylistic work including phrasing, dynamics, time, feel, interpretation of a variety of genres and improvisation; performance skills; rhythm reading and sight singing.
At the end of the second year, students must take a Showcase Jury performance exam that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is thirty minutes in length and comprised of 17 pieces: 13 required compositions and four selections (one classical) chosen by the student in consultation with their major instrument private instructor. All material for the jury must be memorized.

MAJ. 214 Major Instrument Private Lesson 3 - Woodwind
Major Instrument Private Lesson is a series of 13, one-on-one lessons on a student's major instrument (saxophone, clarinet, or flute). It consists of a weekly, one-hour lesson designed for each student according to his or her individual needs. The student is instructed in all areas pertaining to their instrument including tone production, technique, time, feel, reading, phrasing, improvisation, musicality, and ensemble performance.
Students meet with their private teacher individually once per week. Teachers provide verbal feedback, demonstrate/perform effective techniques, assign weekly work, introduce pertinent concepts, introduce the masters of the instrument through sound recordings and design a course of study for each student.

MAJ. 218 Major Instrument Private Lesson 3 - Violin
Major Instrument Private Violin Lesson is a series of 13, one-on-one lessons. It consists of a weekly, one-hour lesson designed for each student according to his or her individual needs. The student is instructed in all areas pertaining to their instrument including tone production, technique, time, feel, reading, phrasing, improvisation, musicality, and ensemble performance.
 

MAS. 200 Master Class 3 - Bass
This course provides explores intermediate to advanced concepts of bass line construction and improvisation on the bass. Material includes modal harmony, intervallic bass lines, listening skills, sight-reading, Latin bass lines, bebop concepts, repertoire development and time-feel. The main emphasis is on further developing musicality and professional skills on the bass.

MAS. 202 Master Class 3 - Guitar
The second year guitar Master Class expands on concepts presented in the first year by incorporating a wide variety of contemporary musical styles. The course is a hands-on exploration of the guitarists' role in these genres. Guest artists will be invited to demonstrate their areas of expertise and assist students in developing the skills required in the workplace. Some of the areas covered will be jazz, Latin, world music and studio playing including pop, rock, funk and country. Students will have the opportunity to study specific styles of guitar playing with masters in the field while building on the fundamentals that are at the core of solid musicianship.

MAS. 204 Master Class 3 - Keyboard
This course is a continuation of Master Class 2 and is designed as an overview of the basic concepts used by the professional keyboardist, with emphasis on developing ensemble and stylistic concepts. A more detailed study of these concepts (particularly as they apply to the individual student) will take place in the private lesson.

MAS. 206 Master Class 3 - Percussion
This course is a continuation of topics introduced in MAST 106/107 and will deal with more advanced concepts to better improve the student's musicality on their major instrument. Concepts provided here will include an intense study of their performance ability, technical facility rhythmic knowledge and overall musicality. The principles of technique, time, feel, groove, expression, versatility, soloing, reading, practice habits, ensemble and solo performance, phrasing and doubling are reinforced and expanded upon. In class performance with feedback serves to reinforce these principles and offers a unique opportunity for musicians to learn from each other in a group environment.

MAS. 210 Master Class 3 – Brass
This two-semester course is designed as an extension of the Private Lesson. The overall purpose of the course is to familiarize the student with all areas of Brass playing production. Weekly lectures will investigate; breathing, tongue level, slurs, tonguing, practice guidelines, nerves, mouthpiece placement, teeth and gum care and pedal tones. Modern, classical and jazz phrasing and reading will also be a part of the weekly class. Assignments will include record lifts as well.

MAS. 212 Master Class 3 - Vocal
This is a one-semester course dealing with topics of common interest to vocalists. It is a supplement to, and extension of the private lesson, dealing with vocal technique, interpretation of various styles, harmony work, performance skills and developing positive vocal attitudes and work habits.


MAS. 214 Master Class 3 - Woodwind
This course complements the major instrument private lesson. Concepts provided in this class will allow the student to better improve as a woodwind performer. Emphasis will be given to developing a solid practice routine, learning the proper techniques of playing the instrument and in class performance with feedback designed to improve these techniques.
 

MAS. 200 Master Class 3 - Bass
This course provides explores intermediate to advanced concepts of bass line construction and improvisation on the bass. Material includes modal harmony, intervallic bass lines, listening skills, sight-reading, Latin bass lines, bebop concepts, repertoire development and time-feel. The main emphasis is on further developing musicality and professional skills on the bass.

MAS. 202 Master Class 3 - Guitar
The second year guitar Master Class expands on concepts presented in the first year by incorporating a wide variety of contemporary musical styles. The course is a hands-on exploration of the guitarists' role in these genres. Guest artists will be invited to demonstrate their areas of expertise and assist students in developing the skills required in the workplace. Some of the areas covered will be jazz, Latin, world music and studio playing including pop, rock, funk and country. Students will have the opportunity to study specific styles of guitar playing with masters in the field while building on the fundamentals that are at the core of solid musicianship.

MAS. 204 Master Class 3 - Keyboard
This course is a continuation of Master Class 2 and is designed as an overview of the basic concepts used by the professional keyboardist, with emphasis on developing ensemble and stylistic concepts. A more detailed study of these concepts (particularly as they apply to the individual student) will take place in the private lesson.

MAS. 206 Master Class 3 - Percussion
This course is a continuation of topics introduced in MAST 106/107 and will deal with more advanced concepts to better improve the student's musicality on their major instrument. Concepts provided here will include an intense study of their performance ability, technical facility rhythmic knowledge and overall musicality. The principles of technique, time, feel, groove, expression, versatility, soloing, reading, practice habits, ensemble and solo performance, phrasing and doubling are reinforced and expanded upon. In class performance with feedback serves to reinforce these principles and offers a unique opportunity for musicians to learn from each other in a group environment.

MAS. 210 Master Class 3 – Brass
This two-semester course is designed as an extension of the Private Lesson. The overall purpose of the course is to familiarize the student with all areas of Brass playing production. Weekly lectures will investigate; breathing, tongue level, slurs, tonguing, practice guidelines, nerves, mouthpiece placement, teeth and gum care and pedal tones. Modern, classical and jazz phrasing and reading will also be a part of the weekly class. Assignments will include record lifts as well.

MAS. 212 Master Class 3 - Vocal
This is a one-semester course dealing with topics of common interest to vocalists. It is a supplement to, and extension of the private lesson, dealing with vocal technique, interpretation of various styles, harmony work, performance skills and developing positive vocal attitudes and work habits.


MAS. 214 Master Class 3 - Woodwind
This course complements the major instrument private lesson. Concepts provided in this class will allow the student to better improve as a woodwind performer. Emphasis will be given to developing a solid practice routine, learning the proper techniques of playing the instrument and in class performance with feedback designed to improve these techniques.
 

This course further develops the aural skills of the contemporary musician. Intermediate aural and written exercises for melody, harmony and rhythm are covered. Topics include sight singing, dictation, written and recorded transcription assignments and song study.

This course examines the critical discourse relating to the history, sociology and philosophy of contemporary musical expression in North America. Students critically analyze the influence of critical theory, technology, ideology, aesthetics, class, ethnicity, race, age and gender, on various genres of music including jazz-rock fusion, jazz neo-classicism, progressive rock, heavy metal, singer-songwriters, disco, and punk rock. Class discussions centre on readings in sociology, musicology and philosophy and serve to enrich the students’ perception and understanding of the music experience and contemporary culture.

This course builds on a solid foundation of musical literacy and explores more advanced theoretical concepts all allow students to play, write and analyze at a higher level. Topics include advanced voice-leading concepts, melody writing, sequences and motives, diminished and whole-tone harmony, chord/scale relationships, voicing techniques, reharmonization techniques, score and part writing, instrument transpositions, roman numeral, functional, melodic and formal analysis methods and other subjects.
The Improvisation Lab component applies many of the theoretical concepts introduced in the course and develops the performer’s ability to improvise both vocally and instrumentally on standard repertoire using a variety of scales and harmonies in different musical styles (bebop, blues, funk, contemporary jazz and various Latin styles). Performance practice, stylistic nuance and the application of music theory and aural training are assessed.

This course introduces various software and hardware tools and techniques pertaining to MIDI sequencing, computer music notation, and digital audio workstations. Students are introduced to contemporary methods of music composition, arranging, recording and production using current hardware and computer applications with particular emphasis on Sibelius and Pro Tools LE software. Course activity will include learning to program various elements of music notation and score organization in Sibelius, and learning basic principles in analog and digital audio, signal processing, and layout of digital audio workstations. The skills taught in this course will help facilitate the completion of theory and arranging assignments for other courses in the program, as well as prepare students for using more advanced production facilities in their third and fourth years.

Students will be allowed to choose from a variety of breadth courses. These courses span a broad range of disciplines including sociology, psychology, philosophy, history, economics, and geography, among others. Elective offerings will vary from semester to semester.

Academic Writing
ENGL 102 Academic Writing and Critical Reasoning: Business and Society
ENGL 103 Academic Writing and Critical Reasoning: Imagination, Self and Society
ENGL 104 Academic Writing and Critical Reasoning: Approaches to Literature
ENGL 105 Academic Writing and Critical Reasoning: Individuals and Communities
ENGL 106 Academic Writing and Critical Reasoning: Ecology, Nature and Society
ENGL 107 Academic Writing and Critical Reasoning: Popular Culture

Anthropology
ANTH 200 Principles of Anthropology

Economics
ECON 200 Money, Markets and Democracy
ECON 402 Business in Politics ˗ Advanced

History
HIST 200 Canadian Studies: The Challenge Ahead

Humanities
HUMA 200 Film: Styles, Narratives and Techniques of the Moving Image
HUMA 405 Shakespeare and Film
HUMA 406 Desire and Discontent ˗ Advanced
HUMA 408 Good and Evil ˗ Advanced
HUMA 413 Justice: Philosophical and Literary Perspectives ˗ Advanced

Literature
HUMA 201 Trauma and Memory in Literature
HUMA 202 Betrayal in Contemporary Fiction
HUMA 403 Love Stories

Philosophy
PHIL 201 The Good Life
PHIL 203 Ethics and Moral Theory
PHIL 205 Love and Sex: Philosophical Perspectives
PHIL 402 Knowing and Believing ˗ Advanced
PHIL 404 How is Society Possible ˗ Advanced
PHIL 405 Theories of Beauty
PHIL 409 Brainstorm ˗ Advanced
PHIL 412 People, Mind and Body: Selfish Thoughts ˗ Advanced
PHIL 413 Business and Professional Ethics: Your Money and Your Life

Political Science
POLS 200 Introduction to Politics
POLS 201 Human Security and World Disorder
POLS 202 Canada and the World: Trade, Diplomacy and War
POLS 212 The Corporation in Society
POLS 250 Power: 701
POLS 401 War and Morality
POLS 410 Leadership ˗ Advanced
POLS 451 Power: 702: The Question of Legitimation ˗ Advanced

Psychology
PSYC 200 Introduction to Psychology
PSYC 402 Lifespan Development
PSYC 404 Personality Psychology

Science
RSMT 201 Qualitative Research Methods
SCIE 200 Astronomy
SCIE 202 Introduction to Environmental Studies
SCIE 203 Science Matters: Introduction to the Sciences
SCIE 403 Scientific Achievements ˗ Advanced

Sociology
SOCI 200 Sociology of Health
SOCI 201 Principles of Sociology
SOCI 202 Canadian Families: Past, Present and Future
SOCI 204 Sociology of the Everyday
SOCI 401 Sociology of Consumption ˗ Advanced
SOCI 402 The Sociology of Technology ˗ Advanced
SOCI 450 City Life: 702 ˗ Advanced

MAJ. 201 Major Instrument Private Lesson 4 - Bass
Each course is a series of private lessons on double bass or electric bass, dealing with all aspects of professional bass playing. There are a series of half hour lessons per semester, designed to address each student's particular interests and needs.

MAJ. 203 Major Instrument Private Lesson 4 - Guitar
These courses provide an in-depth study and analysis of the various styles and techniques involved in modern guitar playing. Each student is put on an individual course of study, which relates to his or her particular needs.

MAJ. 205 Major Instrument Private Lesson 4 - Keyboard
These courses are comprised of 13, one-hour private lessons (first semester), and 12, one-hour lessons (second semester) in piano. They are designed to offer a basic study of the essential concepts used by the professional keyboardist. Material covered will be based on the individual needs of the student and may include coaching in ensemble music. The second semester will help the student prepare for his/her jury.

MAJ. 207 Major Instrument Private Lesson 4 - Percussion
This course is comprised of a series of half-hour private lessons in percussion/drum set personally designed for each individual, stressing the continuing development of the student's understanding of and performance capability in areas of: style, time, technique, reading, phrasing, soloing and ensemble performance.

MAJ. 209 Major Instrument Private Lesson 4 - Trombone
Major Instrument Trombone 1 through 6, consist of weekly, half-hour private lessons. The student will be instructed in all areas of trombone technique, all styles of music, and performance skills.

MAJ. 211 Major Instrument Private Lesson 4 -Trumpet
Major Instrument Trumpet 1 through 6, consist of weekly, half-hour private lessons. The student will be instructed in all areas of trumpet technique, all styles of music, and performance skills.

MAJ. 213 Major Instrument Private Lesson 4 - Vocal
Major Instrument Private Vocal Lessons 212 and 213 are series of 13, one-on-one weekly, one-hour lessons designed for each student according to his or her individual needs. The student will continue to work on developing good practice routines and general self-discipline and continue to work on his/her vocal skills at a more advanced level including: vocal technique; stylistic work including phrasing, dynamics, time, feel, interpretation of a variety of genres and improvisation; performance skills; rhythm reading and sight singing.
At the end of the second year, students must take a Showcase Jury performance exam that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is thirty minutes in length and comprised of 17 pieces: 13 required compositions and four selections (one classical) chosen by the student in consultation with their major instrument private instructor. All material for the jury must be memorized.

MAJ. 215 Major Instrument Private Lesson 4 - Woodwind
Major Instrument Private Lesson is a series of 13, one-on-one lessons on a student's major instrument (saxophone, clarinet, or flute). It consists of a weekly one-hour lesson designed for each student according to his or her individual needs. The student is instructed in all areas pertaining to their instrument including tone production, technique, time, feel, reading, phrasing, improvisation, musicality, and ensemble performance.
Students meet with their private teacher individually once per week. Teachers provide verbal feedback, demonstrate/perform effective techniques, assign weekly work, introduce pertinent concepts, introduce the masters of the instrument through sound recordings and design a course of study for each student.

MAJ. 219 Major Instrument Private Lesson 4 - Violin
Major Instrument Private Violin Lesson is a series of 13, one-on-one lessons. It consists of a weekly, one-hour lesson designed for each student according to his or her individual needs. The student is instructed in all areas pertaining to their instrument including tone production, technique, time, feel, reading, phrasing, improvisation, musicality, and ensemble performance.

MAS. 201 Master Class 4 - Bass
This course is a continuation of Master Class 200. This course explores intermediate to advanced concepts of bass line construction and improvisation on the bass. Material includes slash-chord harmony and its implications for bass players, playing with a broken feel, over-the-bar-line rhythms, listening and transcription skills, sight-reading, Bebop concepts and repertoire development. This course supplements private lessons, and offers a unique opportunity for bassists to learn from each other in a group environment. The main emphasis is on creating a solid foundation for developing musicality and professional skills on the bass.

MAS. 203 Master Class 4 - Guitar
The second year guitar Master Class expands on the concepts presented in the first year by incorporating a wide variety of contemporary musical styles. The course is a hands-on exploration of the guitarists' role in these genres. Guest artists will be invited to demonstrate their areas of expertise and assist students in developing the skills required in the workplace. Some of the areas covered will be jazz, Latin, world music and studio playing including pop, rock, funk and country. Students will have the opportunity to study specific styles of guitar playing with masters in the field while building on the fundamentals that are at the core of solid musicianship.

MAS. 205 Master Class 4 - Keyboard
This course is a continuation of MAS. 204. It will deal with the basic concepts used by the professional keyboardist, with emphasis on developing ensemble and stylistic concepts. A more detailed study of these concepts (particularly as they apply to the individual student) will take place in the private lesson.

MAS. 207 Master Class 4 - Percussion
This course is a continuation of topics introduced in MAS. 206 and will deal with more advanced concepts to better improve the student's musicality on their major instrument. Concepts provided here will include an intense study of their performance ability, technical facility, rhythmic knowledge and overall musicality. The principles of time, feel, groove, expression, versatility, soloing, reading, practice habits, ensemble and solo performance, phrasing and doubling are reinforced and expanded upon. In class performance with feedback serves to reinforce these principles and offers a unique opportunity for musicians to learn from each other in a group environment.

MAS. 211 Master Class 4 - Brass
This two-semester course is designed as an extension of the Private Lesson. The overall purpose of the course is to familiarize the student with all areas of Brass playing production. Weekly lectures will investigate; breathing, tongue level, slurs, tonguing, practice guidelines, nerves, mouthpiece placement, teeth and gum care and pedal tones. Modern, classical and jazz phrasing and reading will also be a part of the weekly class. Assignments will include record lifts as well.

MAS. 213 Master Class 4 - Vocal
This is a one-semester course dealing with topics of common interest to vocalists. It is a supplement to, and extension of the private lesson, dealing with vocal technique, interpretation of various styles, harmony work, performance skills and developing positive vocal attitudes and work habits.

MAS. 215 Master Class 4 - Woodwind
This course complements the major instrument private lesson. Concepts provided in this class will allow the student to better improve as a woodwind performer. Emphasis will be given to developing a solid practice routine, learning the proper techniques of playing the instrument and in class performance with feedback designed to improve these techniques.
 

MAS. 201 Master Class 4 - Bass
This course is a continuation of Master Class 200. This course explores intermediate to advanced concepts of bass line construction and improvisation on the bass. Material includes slash-chord harmony and its implications for bass players, playing with a broken feel, over-the-bar-line rhythms, listening and transcription skills, sight-reading, Bebop concepts and repertoire development. This course supplements private lessons, and offers a unique opportunity for bassists to learn from each other in a group environment. The main emphasis is on creating a solid foundation for developing musicality and professional skills on the bass.

MAS. 203 Master Class 4 - Guitar
The second year guitar Master Class expands on the concepts presented in the first year by incorporating a wide variety of contemporary musical styles. The course is a hands-on exploration of the guitarists' role in these genres. Guest artists will be invited to demonstrate their areas of expertise and assist students in developing the skills required in the workplace. Some of the areas covered will be jazz, Latin, world music and studio playing including pop, rock, funk and country. Students will have the opportunity to study specific styles of guitar playing with masters in the field while building on the fundamentals that are at the core of solid musicianship.

MAS. 205 Master Class 4 - Keyboard
This course is a continuation of MAS. 204. It will deal with the basic concepts used by the professional keyboardist, with emphasis on developing ensemble and stylistic concepts. A more detailed study of these concepts (particularly as they apply to the individual student) will take place in the private lesson.

MAS. 207 Master Class 4 - Percussion
This course is a continuation of topics introduced in MAS. 206 and will deal with more advanced concepts to better improve the student's musicality on their major instrument. Concepts provided here will include an intense study of their performance ability, technical facility, rhythmic knowledge and overall musicality. The principles of time, feel, groove, expression, versatility, soloing, reading, practice habits, ensemble and solo performance, phrasing and doubling are reinforced and expanded upon. In class performance with feedback serves to reinforce these principles and offers a unique opportunity for musicians to learn from each other in a group environment.

MAS. 211 Master Class 4 - Brass
This two-semester course is designed as an extension of the Private Lesson. The overall purpose of the course is to familiarize the student with all areas of Brass playing production. Weekly lectures will investigate; breathing, tongue level, slurs, tonguing, practice guidelines, nerves, mouthpiece placement, teeth and gum care and pedal tones. Modern, classical and jazz phrasing and reading will also be a part of the weekly class. Assignments will include record lifts as well.

MAS. 213 Master Class 4 - Vocal
This is a one-semester course dealing with topics of common interest to vocalists. It is a supplement to, and extension of the private lesson, dealing with vocal technique, interpretation of various styles, harmony work, performance skills and developing positive vocal attitudes and work habits.

MAS. 215 Master Class 4 - Woodwind
This course complements the major instrument private lesson. Concepts provided in this class will allow the student to better improve as a woodwind performer. Emphasis will be given to developing a solid practice routine, learning the proper techniques of playing the instrument and in class performance with feedback designed to improve these techniques.
 

This course is designed to develop musical sensitivity, as well as perception and control of the elements of contemporary music through a variety of exercises in listening, singing, playing, and transcribing. Students will master advanced level rudiments of melody, harmony and rhythm and improve their transcription and sight-singing skills to include atonality and 12-tone serialism.

This course further examines the critical discourse relating to the history, sociology and philosophy of contemporary musical expression in North America. Students critically analyze the influence of technology, ideology, aesthetics, class, ethnicity, race, age and gender, on various genres of music including new wave, hip hop, alternative rock, MTV and music video, world beat and electronica. Class discussions centre on readings in sociology, musicology and philosophy and serve to enrich the students’ perception and understanding of the music experience and contemporary culture.

This course builds on a solid foundation of musical literacy and explores more advanced theoretical concepts all allow students to play, write and analyze at a higher level. Topics include advanced melodic analysis, slash chord and polychord harmony, world rhythms, two-part counterpoint, twelve-tone music and other topics. It culminates with a final composition project.
The Improvisation Lab component applies many of the theoretical concepts introduced in the course and develops the performer’s ability to improvise both vocally and instrumentally on standard repertoire using a variety of scales and harmonies in different musical styles (bebop, blues, funk, contemporary jazz and various Latin styles). Performance practice, stylistic nuance and the application of music theory and aural training are assessed.

This course builds on a solid foundation of musical literacy and explores more advanced theoretical concepts all allow students to play, write and analyze at a higher level. Topics include advanced melodic analysis, slash chord and polychord harmony, world rhythms, two-part counterpoint, twelve-tone music and other topics. It culminates with a final composition project.
The Improvisation Lab component applies many of the theoretical concepts introduced in the course and develops the performer’s ability to improvise both vocally and instrumentally on standard repertoire using a variety of scales and harmonies in different musical styles (bebop, blues, funk, contemporary jazz and various Latin styles). Performance practice, stylistic nuance and the application of music theory and aural training are assessed.

Students will be allowed to choose from a variety of breadth courses. These courses span a broad range of disciplines including sociology, psychology, philosophy, history, economics, and geography, among others. Elective offerings will vary from semester to semester.

Academic Writing
ENGL 102 Academic Writing and Critical Reasoning: Business and Society
ENGL 103 Academic Writing and Critical Reasoning: Imagination, Self and Society
ENGL 104 Academic Writing and Critical Reasoning: Approaches to Literature
ENGL 105 Academic Writing and Critical Reasoning: Individuals and Communities
ENGL 106 Academic Writing and Critical Reasoning: Ecology, Nature and Society
ENGL 107 Academic Writing and Critical Reasoning: Popular Culture

Anthropology
ANTH 200 Principles of Anthropology

Economics
ECON 200 Money, Markets and Democracy
ECON 402 Business in Politics ˗ Advanced

History
HIST 200 Canadian Studies: The Challenge Ahead

Humanities
HUMA 200 Film: Styles, Narratives and Techniques of the Moving Image
HUMA 405 Shakespeare and Film
HUMA 406 Desire and Discontent ˗ Advanced
HUMA 408 Good and Evil ˗ Advanced
HUMA 413 Justice: Philosophical and Literary Perspectives ˗ Advanced

Literature
HUMA 201 Trauma and Memory in Literature
HUMA 202 Betrayal in Contemporary Fiction
HUMA 403 Love Stories

Philosophy
PHIL 201 The Good Life
PHIL 203 Ethics and Moral Theory
PHIL 205 Love and Sex: Philosophical Perspectives
PHIL 402 Knowing and Believing ˗ Advanced
PHIL 404 How is Society Possible ˗ Advanced
PHIL 405 Theories of Beauty
PHIL 409 Brainstorm ˗ Advanced
PHIL 412 People, Mind and Body: Selfish Thoughts ˗ Advanced
PHIL 413 Business and Professional Ethics: Your Money and Your Life

Political Science
POLS 200 Introduction to Politics
POLS 201 Human Security and World Disorder
POLS 202 Canada and the World: Trade, Diplomacy and War
POLS 212 The Corporation in Society
POLS 250 Power: 701
POLS 401 War and Morality
POLS 410 Leadership ˗ Advanced
POLS 451 Power: 702: The Question of Legitimation ˗ Advanced

Psychology
PSYC 200 Introduction to Psychology
PSYC 402 Lifespan Development
PSYC 404 Personality Psychology

Science
RSMT 201 Qualitative Research Methods
SCIE 200 Astronomy
SCIE 202 Introduction to Environmental Studies
SCIE 203 Science Matters: Introduction to the Sciences
SCIE 403 Scientific Achievements ˗ Advanced

Sociology
SOCI 200 Sociology of Health
SOCI 201 Principles of Sociology
SOCI 202 Canadian Families: Past, Present and Future
SOCI 204 Sociology of the Everyday
SOCI 401 Sociology of Consumption ˗ Advanced
SOCI 402 The Sociology of Technology ˗ Advanced
SOCI 450 City Life: 702 ˗ Advanced

MAJ. 300 Major Instrument Private Lesson 5 - Bass
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly, one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

This course will expose students to a variety of musical and production scenarios through a study of the evolution of music producing, and through in-class recording sessions. These sessions will allow students to apply the work being done in the Creative Development course, and will result in each student having a recording of themselves. Significant recordings and producers from the past century will be studied for their production value and relevance to music of the time. A variety of styles, instrumentation, and genres of music will be considered along with production practices for those scenarios. Further, a survey of historically important popular music producers such as Les Paul, Phil Spector, George Martin, Teo Macero and many others will also be undertaken.

This course is designed to prepare the developing instrumentalist or vocalist with the requisite skills for a career as a professional live musician and bandleader. Performance, musicianship and leadership skills are taught and assessed through the presentation of mini-recitals and evaluations, culminating with an end-of-year fifty-five minute recital comprised of both original arrangements of existing repertoire and original material. This course works in tandem with the student’s Major Instrument Private Lesson 5 and 6 courses in helping students identify their musical strengths and artistic direction. Students will also adjudicate colleagues mini-recitals and promote open and honest criticism of one another’s work with a view towards self-improvement.

Students will be allowed to choose from a variety of breadth courses. These courses span a broad range of disciplines including sociology, psychology, philosophy, history, economics, and geography, among others. Elective offerings will vary from semester to semester.

Academic Writing
ENGL 102 Academic Writing and Critical Reasoning: Business and Society
ENGL 103 Academic Writing and Critical Reasoning: Imagination, Self and Society
ENGL 104 Academic Writing and Critical Reasoning: Approaches to Literature
ENGL 105 Academic Writing and Critical Reasoning: Individuals and Communities
ENGL 106 Academic Writing and Critical Reasoning: Ecology, Nature and Society
ENGL 107 Academic Writing and Critical Reasoning: Popular Culture

Anthropology
ANTH 200 Principles of Anthropology

Economics
ECON 200 Money, Markets and Democracy
ECON 402 Business in Politics ˗ Advanced

History
HIST 200 Canadian Studies: The Challenge Ahead

Humanities
HUMA 200 Film: Styles, Narratives and Techniques of the Moving Image
HUMA 405 Shakespeare and Film
HUMA 406 Desire and Discontent ˗ Advanced
HUMA 408 Good and Evil ˗ Advanced
HUMA 413 Justice: Philosophical and Literary Perspectives ˗ Advanced

Literature
HUMA 201 Trauma and Memory in Literature
HUMA 202 Betrayal in Contemporary Fiction
HUMA 403 Love Stories

Philosophy
PHIL 201 The Good Life
PHIL 203 Ethics and Moral Theory
PHIL 205 Love and Sex: Philosophical Perspectives
PHIL 402 Knowing and Believing ˗ Advanced
PHIL 404 How is Society Possible ˗ Advanced
PHIL 405 Theories of Beauty
PHIL 409 Brainstorm ˗ Advanced
PHIL 412 People, Mind and Body: Selfish Thoughts ˗ Advanced
PHIL 413 Business and Professional Ethics: Your Money and Your Life

Political Science
POLS 200 Introduction to Politics
POLS 201 Human Security and World Disorder
POLS 202 Canada and the World: Trade, Diplomacy and War
POLS 212 The Corporation in Society
POLS 250 Power: 701
POLS 401 War and Morality
POLS 410 Leadership ˗ Advanced
POLS 451 Power: 702: The Question of Legitimation ˗ Advanced

Psychology
PSYC 200 Introduction to Psychology
PSYC 402 Lifespan Development
PSYC 404 Personality Psychology

Science
RSMT 201 Qualitative Research Methods
SCIE 200 Astronomy
SCIE 202 Introduction to Environmental Studies
SCIE 203 Science Matters: Introduction to the Sciences
SCIE 403 Scientific Achievements ˗ Advanced

Sociology
SOCI 200 Sociology of Health
SOCI 201 Principles of Sociology
SOCI 202 Canadian Families: Past, Present and Future
SOCI 204 Sociology of the Everyday
SOCI 401 Sociology of Consumption ˗ Advanced
SOCI 402 The Sociology of Technology ˗ Advanced
SOCI 450 City Life: 702 ˗ Advanced

MAJ. 301 Major Instrument Private Lesson 6 and Third-Year Recital - Bass
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly, one-hour, major instrument, private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MAJ. 303
Major Instrument Private Lesson 6 and Third-Year Recital - Guitar This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MAJ. 305 Major Instrument Private Lesson 6 and Third-Year Recital - Keyboard
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.


MAJ. 307 Major Instrument Private Lesson 6 and Third-Year Recital - Percussion
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.


MAJ. 309 Major Instrument Private Lesson 6 and Third-Year Recital - Trombone
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MAJ. 311 Major Instrument Private Lesson 6 and Third-Year Recital - Trumpet
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MAJ. 313 Major Instrument Private Lesson 6 and Third-Year Recital – Voice
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MAJ. 315 Major Instrument Private Lesson 6 and Third-Year Recital - Woodwind
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.


MAJ. 319 Major Instrument Private Lesson 6 and Third-Year Recital - Violin
This course is complimentary to Creative Development 1 and 2 and is comprised of a series of weekly one-hour major instrument private lessons designed to prepare the student for their third-year recital. The student is instructed in all areas pertaining to their instrument including tone production, technique, reading, phrasing, improvisation, musicality, and ensemble performance. Near the end of the third year, students must complete a third-year recital that incorporates relevant repertoire and techniques and is evaluated by a panel of faculty members. This showcase is in the form of a public recital of fifty to fifty-five minutes in length and is made up of original compositions, songs or arrangements by the student in consultation with their major instrument private teacher and Creative Development instructor.

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

The mission is to provide students with a general awareness of the four cornerstones of business, and relate them to the music industry. Students are directed methodically through the topics of research and development, production, finance and administration, and sales and marketing. R&D will concentrate on understanding the big picture of the music business followed by analysis of the marketplace, jobs vs. careers, self-evaluation, focus vs. generalization, and finally, balancing all the information in order to prepare for production. Production will discuss qualities and attributes, timeline and work-back, unions and agreements, formats and services, and lastly, budgeting. This will prepare students for second semester (Music Business II - Marketing), which will discuss finance and administration and then focus on sales and marketing. Students will begin to see their career development from a self-employed, self-sufficient independent contractor point of view, integrating their musical/artistic abilities into the perspective of a small business entrepreneur in order to discover and tap into currently available revenue streams. Practical models and actual examples from the working community may be utilized as resource materials, with input from active and successful members of the current music industry.

This course will expose students to a variety of musical and production scenarios through a study of the evolution of music producing, and through in-class recording sessions. These sessions will allow students to apply the work being done in the Creative Development course, and will result in each student having a recording of themselves. Significant recordings and producers from the past century will be studied for their production value and relevance to music of the time. A variety of styles, instrumentation, and genres of music will be considered along with production practices for those scenarios. Further, a survey of historically important popular music producers such as Les Paul, Phil Spector, George Martin, Teo Macero and many others will also be undertaken.

MAJ. 400 Major Instrument Private Lesson 7 - Bass
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four final project, final marks will be determined by the music production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level-one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of industry placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
>In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 402 Major Instrument Private Lesson 7 - Guitar
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year-four final project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level-one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of Industry Placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 404 Major Instrument Private Lesson 7 - Keyboard
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four final project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of industry placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 406 Major Instrument Private Lesson 7 - Percussion
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four final project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). Degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level-one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of industry placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 408 Major Instrument Private Lesson 7 - Trombone
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production
Upon completion of year four final project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of industry placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 410 Major Instrument Private Lesson 7 - Trumpet
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four final project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). Degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of Industry Placement requirement, prior to year-four project
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.
MAJ. 412 Major Instrument Private Lesson 7 - Voice
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four final project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level-one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of industry placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 414 Major Instrument Private Lesson 7 - Woodwind
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four Final Project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level-one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of Industry Placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.

MAJ. 418 Major Instrument Private Lesson 7 - Violin
This course is the culmination of a student's preparation in the previous three years of curriculum, and involves private instruction focused on the completion of a final project.
The student will submit a written proposal as to choice of year four final project (see options below) to their major instrument head by mid-April of year three. Guidelines for proposal, as well as details for all project options, will be provided during year three Master Class in Music Production.
Upon completion of year four Final Project, final marks will be determined by Music Production evaluation panel, in conjunction with Private Lesson instructor (percentage of weighting will be shown in course outlines). A degree will not be awarded without successful completion of this course.
Prerequisites: Successful completion of MUS. 302/303 Creative Development and MUS. 304/305 Master Class in Music Production
Successful completion of level one courses in project discipline (film scoring, orchestration/composition, etc.) **May be taken concurrently, pending approval of major instrument head.
Must be on track to graduate in year of project.
Must complete 490 hours of Industry Placement requirement, prior to year-four project.
Project Options: All students will be allotted 18 hours of studio time to complete project: two, three-hour recording sessions in semester one, and three, four-hour recording sessions in semester two.
All recording, mixing and mastering to be finished within this timeframe.
Option 1) Recording of performance-oriented CD, with student as artist. Submission at end will consist of a minimum of four tunes, minimum time of 20 minutes, maximum of 30 minutes. Success of the project will be measured by thoroughness of process, and quality of final product. Each student who chooses this option will function as the artist on his or her own project, and as producer on another student's project (studio time spent on other student's project does not count against your own).
Option 2) Composition and recording of soundtrack for an eight- to 12-minute short film done by a student in Humber's Film and Television program. Student will work closely in first term with student filmmaker and will be part of team developing concept of film, and thereby, nature of music to be provided. In first term, will start on rough cuts, using MIDI methods. At beginning of second term will get final cut, will record final version of soundtrack using both MIDI and live acoustic formats. (Student choosing this option can volunteer to serve as producer for another student who is doing short CD recording, but is not obligated to do so.)
Option 3) Student may choose to do a combination of film and CD projects. Student can write score for 10-minute documentary, or write five separate versions of a 30-second commercial, during first term (working with student filmmaker), then in second term a short CD project, minimum of two tunes, minimum length 10 minutes, maximum 15 minutes. Again, in each case, thoroughness of process, and quality of final product, is paramount. Each student choosing this option will function as the artist on his own project, and as producer for another student who has chosen this same option (studio time spent on another student's project does not count against your own).
In all projects, all recorded material will be considered to be the intellectual property of the student, and may be used by the student for their own uses provided all legal requirements are met. (The student also owns intellectual property of all music recorded in film-related projects, but as in CD recording, use of said material must meet all legal obligations.)
Before starting the final project, all students will sign agreements relating to previous paragraph.
 

MBE. 340 Teaching Contemporary Music/ Methodologies, Materials and Applications 1
This course provides students with the knowledge and skills for careers in teaching contemporary music and/or academic graduate studies in contemporary music. Students develop the knowledge, skills, materials, curricula, and methodologies for teaching contemporary music to students of all ages and abilities in the following educational venues: elementary school, secondary school, college, university and private studio. Repertoire, resources and rehearsal/delivery techniques are developed through job shadowing and student teaching. A wide range of teaching scenarios is covered including various sizes of classrooms and ensembles, as well as one-on-one lessons and music technology applications.

MBE. 342 Ethno-Musicology 1 and 2
This two-semester course examines world music in all of its manifestations (including folk, popular and art music from the non-Western world as well as ethnic minorities in the Western world) and its relation to culture. Tonal systems, musical instruments, performance practice, notational systems, oral traditions and musical structures are integrated with anthropological and sociological theory including concepts of race, ethnicity and cultural identity, cultural imperialism, hegemony, the impact of technology and mass media, post-colonialism and globalization.

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

This course will instruct students on how to complete a comprehensive, personalized marketing plan with the intention of promoting their individual major recording project/portfolio as a commercially released product in the marketplace. Students learn to apply marketing strategies, and especially branding, within the context of the development of their master recordings as product for their chosen marketplace. They will study contractual partnerships (realistic deal-making) with management, agencies, record companies, distributors, publishers, etc., as they finalize their CD artwork graphic packaging, and harmonize their creative material with their promotional marketing materials, including their website, press kit, sell sheet, and integrate these with their branding strategies. Topics covered will include distribution, radio, retail, co-ordinating the value of live concert and tour promotion into the marketing strategy.

This course is comprised of a series of recording sessions and regular consultations with a faculty member, and is designed to provide guidance for the student through completion of their fourth-year final recording project. These consultations provide the student with guidance and mentorship throughout the planning, artistic direction, content decisions, organization, and execution of the student’s final recording project.
By the end of the fourth year of the program, graduating students must submit a completed recording project that will showcase a culmination of their applied musical abilities in composition and arranging techniques, improvisation, performance, studio production, as well as marketing and design. This assembled project will be in the form of a short CD album of tunes (or a shorter CD and a track of music for film or picture). The student functions as principle artist and showcases their talents as a bandleader while working with a team of other professional students from the music program and the graphic design program, as well as a professional recording engineer. In addition, each student functions as producer on one of their colleague’s CDs. In this role, they assist the artist with all the organizational, scheduling, and production tasks surrounding their recording sessions in Humber’s state-of-the-art recording facility. Further, a written paper, documenting the progress, challenges and accomplishments of the recording project will also be submitted. This final recording project submission will be evaluated by a panel of faculty members and will function as a student’s calling card for entrance into the music industry upon graduation.

This course is comprised of a series of recording sessions and regular consultations with a faculty member, and is designed to provide guidance for the student through completion of their fourth-year final recording project. These consultations provide the student with guidance and mentorship throughout the planning, artistic direction, content decisions, organization, and execution of the student’s final recording project.
By the end of the fourth year of the program, graduating students must submit a completed recording project that will showcase a culmination of their applied musical abilities in composition and arranging techniques, improvisation, performance, studio production, as well as marketing and design. This assembled project will be in the form of a short CD album of tunes (or a shorter CD and a track of music for film or picture). The student functions as principle artist and showcases their talents as a bandleader while working with a team of other professional students from the music program and the graphic design program, as well as a professional recording engineer. In addition, each student functions as producer on one of their colleague’s CDs. In this role, they assist the artist with all the organizational, scheduling, and production tasks surrounding their recording sessions in Humber’s state-of-the-art recording facility. Further, a written paper, documenting the progress, challenges and accomplishments of the recording project will also be submitted. This final recording project submission will be evaluated by a panel of faculty members and will function as a student’s calling card for entrance into the music industry upon graduation.

MAJ. 401 Major Instrument Private Lesson 8 and Graduation Recording Project – Bass
This course is comprised of a series of weekly, one-hour private lessons relating to student's graduation recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 403 Major Instrument Private Lesson 8 and Graduation Recording Project - Guitar
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 405 Major Instrument Private Lesson 8 and Graduation Recording Project - Keyboard
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 407 Major Instrument Private Lesson 8 and Graduation Recording Project – Percussion
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 409 Major Instrument Private Lesson 8 and Graduation Recording Project - Trombone
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 411 Major Instrument Private Lesson 8 and Graduation Recording Project - Trumpet
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 413 Major Instrument Private Lesson 8 and Graduation Recording Project - Voice
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 415 Major Instrument Private Lesson 8 and Graduation Recording Project – Woodwind
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.

MAJ. 419 Major Instrument Private Lesson 8 and Graduation Recording Project - Violin
This course is comprised of a series of weekly, one-hour private lessons relating to their graduation-recording project. At the end of the fourth year, students must submit a completed recording portfolio for their graduation recording project that integrates all musical components from composition, improvisation, performance, and arranging techniques, as well as music production, marketing and design. This assembled portfolio will be in the form of a mastered recording project that demonstrates the student's ability to perform, improvise, compose and/or arrange music at a professional level. A fellow student in consultation with a faculty member will produce the recording project.
 

MBE. 342/343 Ethno-Musicology 1 and 2
This two-semester course examines world music in all of its manifestations (including folk, popular and art music from the non-Western world as well as ethnic minorities in the Western world) and its relation to culture. Tonal systems, musical instruments, performance practice, notational systems, oral traditions and musical structures are integrated with anthropological and sociological theory including concepts of race, ethnicity and cultural identity, cultural imperialism, hegemony, the impact of technology and mass media, post-colonialism and globalization.

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

MEL. 356 Scoring Techniques for Picture 1
This course offers a practical examination of the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 357 Scoring Techniques for Picture 2
This course further examines the technology and art of scoring music for film, television and commercials. Using computer-based MIDI and digital audio workstations, synthesizers and sample libraries, this course examines a broad range of topics and applications including: SMPTE time code and synchronization; the use of click tracks and temp tracks; investigating the aesthetic and psychological relationship between film and music; spotting a film/TV sequence; scoring procedures and rehearsal techniques for writing film cues; enhancing dramatic elements; and specific writing techniques for jingles and animation. This course addresses the prevalent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting or specific geographical locale of a screenplay. Approaches to research and adaptation of authentic musical styles are discussed. (Such styles include, for example, 19th century romanticism, jazz, world music, rock, etc.) Careful attention to instrumentation, arranging, orchestration, and dramatic theme development are emphasized. Assignments representing realistic situations are recorded synchronously to film and TV scenes, as well as to commercials.

MEL. 370 Advanced Contemporary Improvisation 1
This course is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising, as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 371 Advanced Contemporary Improvisation 2
This course is a continuation of MEL. 370 Advanced Contemporary Improvisation 1and is designed for the serious, already evolving performer. Emphasis will be on a logical approach to improvising as well as on individualism, repertoire and style. Each class will be divided into a lecture and performance component. The lecture will be comprised of approximately the first hour of class time, with the performance session immediately following a short break.

MEL. 372 Contemporary Music Orchestration and Composition 1
This course provides students with the necessary skills to write for a variety of large and small ensembles in diverse styles of music. Each family of instruments (i.e. saxophones, strings, brass, woodwinds, vocal choir, etc.) is examined in depth and their role in the large orchestra discussed. Through a study of orchestration, as well as analytical listening to the great arrangers past and present, the student gains the ability to orchestrate music for a variety of instrumental settings in different musical styles. Technological developments such as the use of computers, synthesizers and MIDI equipment are also addressed. Students have the opportunity to hear their arrangements played in class where the instructor and student peers may offer constructive criticism.

MEL. 373 Contemporary Music Orchestration and Composition 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. By analyzing aural and written materials students develop a broad understanding of musical form and the materials that help to create cohesive musical structures. Through practical application of these concepts students begin to incorporate these ideas into their own compositions.

MEL. 376 Contemporary Songwriting and Analysis 1
This course surveys the techniques and styles of popular songwriting in a variety of genres including: Tin Pan Alley, Broadway, brill building, rock, singer-songwriter, rhythm and blues and contemporary pop. Students initially develop the practical comprehension of popular song forms and structures through a selected analysis of the history of contemporary songwriting.

MEL. 377 Contemporary Songwriting and Analysis 2
The fundamental elements and applications of contemporary songwriting become the focus of in-depth discussion in a workshop format, in which students present their own compositions and demos as the base materials. Students develop critical perspectives of their own work, and learn to apply industry standards. Reference points for this course are state-of-the-art - including models from the current professional working community, the educational materials used by the SAC (Songwriter's Association of Canada), and the texts of educational writers such as Davis, Pattison, Perricone, Kachulis, Josefs and Braheny.

MEL. 470 Advanced Contemporary Improvisation 3
This course is a continuation of MEL. 301 and is designed for the advanced jazz improviser. Emphasis is on developing a modern approach to jazz improvisation, also stressing the appropriate repertoire for this genre. Players such as Jerry Bergonzi, Wayne Shorter, Miles Davis, and Kenny Wheeler will be studied in this class.

MEL. 472 Advanced Contemporary Music Arranging and Analysis 1
This course enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the Graduation Recording Project final submission.

MEL. 473 Advanced Contemporary Music Arranging and Analysis 2
This course further enhances the student's abilities to write for a variety of large and small ensembles in a diversity of musical styles, with particular focus on large ensemble writing, and advanced techniques in voicing chords and orchestration. The works of such contemporary writers as: Gil Evans, Bob Brookmeyer, Vince Mendoza, Bill Holman, Jim McNeely, Kenny Wheeler, and Maria Schneider are examined and discussed. Students are encouraged to use advanced harmonic techniques in their writing, such as polytonality, pedal point, polychords, and intervallic melodies and harmonies. This course will also assist the student in compiling a portfolio of original arrangements as part of the graduation recording project final submission.

MEL. 475 Advanced Contemporary Music Composition and Analysis 2
This course presents advanced theoretical and practical concepts to students interested in contemporary music composition. Through analyzing and emulating significant historical models of small band jazz writing, the student will gain proficiency in different styles and in writing for various ensembles.
 

MEP. 350 Esthetics of Recorded Sound 1
This course will examine the use of space, dimension, tone and special effects in the production of a music recording in order to focus the attention of the listener and evoke the desired emotional response. Class lectures and discussions will be based upon diverse musical case studies and the analysis of both professional and student recordings. Special attention will be given to the effectiveness of subtle signal processing in various post-production stages of a project.

MEP. 351 Esthetics of Recorded Sound 2
This course will examine the advanced use of space, dimension, tone and special effects in the production of a musical piece in order to focus the attention of the listener and evoke the desired emotional response. For example, the impact of musical key choice, EQ, or instrumentation on the soundscape, and consequently the emotional content is analyzed. Class lectures and discussions will be based upon diverse musical case studies, as well as analysis of both professional and student recordings.

MEP. 352 Live Music Production 1
This course is designed for those students who want additional hands-on experience in the studio to focus on live PA and studio recording performance issues. The class examines the contemporary practice of performance for recordings by focusing on performance issues around the microphone (especially for vocalists and soloists) and live-to-two-track recording situations. Discussion will include topics such as microphone technique, awareness of ensemble blend, and bringing the esthetic elements of live performance into the recording studio. Class lectures will be supplemented with frequent in-class recording sessions with members of the class and occasional guest artists.

MEP. 353 Live Music Production 2
This course continues to examine the contemporary practice of recording and performance for recordings by giving students an opportunity to focus on practical recording sessions in class, while applying what they are learning in the Contemporary Methods of Recording and Master Class courses. The sessions performed in class will focus on performance issues around the microphone and on multi-track recording situations. Various scenarios will be created in the class to model a live performance situation that is also a recording. Class lectures will be supplemented with frequent in-class recording sessions with guest artists and with members of the class.

MEP. 454 Advanced Music Production 1
This course will examine modern production techniques for a variety of musical genres and project types. Discussion will centre on contemporary producers of jazz and popular music in order that students learn to recognize various approaches to the art of production. In addition, detailed session planning including budgets and facility planning will be discussed for jazz, pop, and classical recordings. Attention will be paid to surround sound and what it has to offer for the artist and for the market. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 455 Advanced Music Production 2
This course is designed to develop the technical and artistic abilities of those seeking advanced production skills and prepare them for entry into the music industry. Students will learn about the production process for audio when it is part of a larger project such as the Internet, TV or film. Using the resources provided by guest artists and ensembles, a range of advanced production techniques and strategies are explored, critiqued and evaluated.

MEP. 474 Advanced Contemporary Methods of Recording 1
This course will examine the advanced techniques of multi-track recording and mixing through theoretical discussion and practical application. Overdub technique; signal routing, punching, microphone technique, signal routing, equipment connection and latency are discussed, as well as the impact of these technical issues on the artistic process. Students will be given projects to edit and mix and will improve their hands-on skills with the digital audio workstations. The pros and cons of various levels of production practice are discussed and experienced through diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.

MEP. 475 Advanced Contemporary Methods of Recording 2
A detailed study focusing on the technical and artistic details involved in mixing music for various formats (2.0, 5.1, 7.1, CD, DVD, film, TV, publicity, etc.), and the need for professional mastering. Several projects that present different challenges will be provided or created. Also covering the proper encoding of PQ info, TOC, UPC, ISRC, and other user data, and the technical aspects of various delivery options CDR, DDP, etc. Class lectures and discussions will be based upon diverse musical case studies and complemented by visits from guest artists for in-class recording sessions.
 

This course is a continuation of Directed Study 1 and is comprised of a series of recording sessions and regular consultations with a faculty member. It is designed to provide guidance for the student through completion of their fourth-year final recording project. These consultations provide the student with guidance and mentorship throughout the planning, artistic direction, content decisions, organization, and execution of the student’s final recording project.
By the end of the fourth year of the program, graduating students must submit a completed recording project that will showcase a culmination of their applied musical abilities in composition and arranging techniques, improvisation, performance, studio production, as well as marketing and design. This assembled project will be in the form of a short CD album of tunes (or a shorter CD and a track of music for film or picture). The student functions as principle artist and showcases their talents as a bandleader while working with a team of other professional students from the music program and the graphic design program, as well as a professional recording engineer. In addition, each student functions as producer on one of their colleague’s CDs. In this role, they assist the artist with all the organizational, scheduling, and production tasks surrounding their recording sessions in Humber’s state-of-the-art recording facility. Further, a written paper, documenting the progress, challenges and accomplishments of the recording project will also be submitted. This final recording project submission will be evaluated by a panel of faculty members and will function as a student’s calling card for entrance into the music industry upon graduation.