MMU130 BUILDING THE CREATIVE PATH — This practical, group-activity-based course introduces first-year students in the Interdisciplinary Music Studies programme with broad foundational skills needed to flourish as a creative professional, and to take advantage of the programme’s highly individualized and self-directed design. Lectures, activities, and assignments are designed to develop creative self-awareness, authenticity, and personal agency through collaborative in-class exercises, case studies, peer exchanges, individual reflections, and group debates. Students work towards developing ambitious and realistic goals, and how to identify, create, and maintain professional opportunities and relationships.
MMU200 / 201 CREATIVE IDENTITIES IN MUSIC — This second-year undergraduate course series in the Interdisciplinary Music Studies programme builds on topics covered in MMU130, including agency, power, control, validation, failure, and adversity, among others. Students explore these topics through collaborative in-class activities and reflective assignments, and work towards producing major course projects with strong individual professional relevance. Key assignments include a “mini-festo,” vision statement, elevator pitch, cold-call cover letter, and personal learning plan.
PMU3/457 ORGAN IMPROVISATION — This course aims to develop facility with both modal and tonal organ improvisation applied to a variety of forms and historical styles. The fall term explores modal improvisation in canonic variations, free theme + variations and toccata, emphasizing the use of plainchant melodies as source material. The winter term explores tonal improvisation, including embellishments of hymns/chorales and counterpoint in a variety of historical styles. The formulation of assignments draws on two texts: Lionel Rogg (Geneva Conservatory) “Cours d’improvisation modale ou libre” and Naji Hakim (CNR Boulogne-Billancourt, Royal Academy of Music, London) “Guide pratique d’Improvisation” Structure: Masterclass format & weekly assignments roughly grouped into three repeating units per term: I. Themes (character, melodic structure/contour, harmonization) II. Development: (melodic, rhythmic, harmonic, contrapuntal ) III. Form: (In this course — free, binary, ternary).
PMU288 HISTORICAL KEYBOARD IMPROVISATION / CONTINUO — With a view to developing sensitive and confident continuo playing skills and performance practice knowledge, this course aims to provide practical training in the improvisation of figured-bass accompaniments at the harpsichord, as well as literacy with predominant structures, styles, and ornamentation found in the canon of improvisatory repertory (French prélude, Italian/South German toccata, English/Dutch toccata, North German canzona, Spanish motet intavolation with glosas). This course was conceived 1. to address the need for a sustainable source of continuo players for Historical Performance ensembles within the Faculty of Music, 2. as a contribution to the Minor in Historical Keyboard, and 3. to respond to student interest in a continuation of TMU105. Structure: This course alternates weekly between masterclass (performance and study of prepared repertory) and continuo workshops (group study and performance of figured-bass accompaniments). The course includes regular collaboration with invited student soloists.
PMU388 HARPSICHORD AND ORGAN — Practical grounding in organ and harpsichord, focusing on essential techniques and performance practices grouped into thirteen units. I. Harpsichord: English Late Renaissance; II. Organ: North German Pre-Baroque; III. Harpsichord: Italian Pre-Baroque; IV. Organ: French Classical; V. Harpsichord: French Classical; VI. Organ: Bach Trio Sonatas and Free works; VII. Harpsichord: Classical; VIII: Organ: German Romantic; IX. Organ: Early French Romantic; X: French Symphonic; XI: French Neo-Classical; XII: French 20th century XIII: 20th century British and American. Emphasis is placed on developing a versatile technique with a variety of instruments, adaptation from piano as needed, and proficiency with national styles, ornamentation, registration, and console management. Structure: Masterclass format. Each unit targets the development of a particular combination of repertory, technique, and/or performance-practice skill. The curriculum also intends to contribute to developing overall versatility, kinaesthetic awareness, strength, flexibility, coordination, focus, and musicianship.
PMU460 ORGAN PEDAGOGY — This practical, experiential course is designed to equip organ majors with the knowledge, skills, and confidence to build and maintain a teaching studio. The course explores pedagogies of organ technique and interpretation working with individuals proficient primarily in piano. Assignments and lessons are geared to help students articulate a teaching philosophy, establish appropriate objectives with students, choose repertoire, and to develop communication and conflict-resolution skills. Structure: Supervised applied instruction, viva voce analysis, reflective writing, discussion. Student volunteers receive instruction in preparing Bach chorale preludes from the Orgelbüchlein; some high-aptitude students progress to advanced repertory.