PMU412 / MUS4613 PALLIATIVE CARE — These two courses are an outgrowth of my research developing performance-based models for bedside interventions with end-stage palliative individuals. Combining both seminars and masterclasses, the courses endeavour 1. to socialize students to the goals and models of palliative care from both medical and sociological perspectives, 2. to heighten student awareness of challenges confronting the palliative care discipline and the relevance of performance-based music in addressing them, and 3. to develop understanding and experience applying/adapting stage performance skills to hospital, home, and hospice-based palliative care contexts. Structure: 1. Survey of foundational research by Mount, Kübler-Ross, Cassell, Larkin, Meier, Vachon, Saunders, et al. 2. Masterclass 3. Reflective journal and analytical writing/presentation 4. Guest lectures / Panel discussion with palliative care professionals 5. Practicum (optional).
TMU105 KEYBOARD HARMONY — With a view towards developing musicianship skills and intuition, this course emphasizes thorough-bass (continuo) and collaborative improvisation. Structure: Technology-enhanced active learning model emphasizing group interaction and collaboration.
PMU200 / 201 CREATIVE IDENTITIES IN MUSIC — I have recently created a second-year undergraduate course series which explores creative identity through the human experience lenses of agency, power, control, validation, failure, and adversity, among others. Structure: This course is arranged into four phases. In the Reflection phase, students strive to develop personal definitions of “creative identity,” and explore some of the ideologies that frame its expression. In the Linking phase, students develop case-studies of music industry role models, with a view towards outlining the personal professional vision. In the Adversity phase, students explore how difficult human experiences have shaped the career trajectories of the role models and reflect on personal narratives of adversity. Finally, in the Artefact phase, students begin to inhabit their articulated identities by producing a structured innovation plans, digital stories, and research documents with strong personal relevance.
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). Continuo playing is emphasized in the winter term, and includes 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.