ggs academic canendar aug 23 07 - 0708

ACADEMIC CALENDAR 2007-2008

2007

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The Royal Conservatory of Music Founded in 1886, The Royal Conservatory of Music is the largest and oldest independent arts educator in Canada, serving more than 500,000 active participants each year. Based in Toronto, Canada, it offers extraordinary opportunities for learning and personal develop-ment through music and the arts in all Canadian provinces and increasingly in a number of international settings. The Royal Conservatory of Music is committed to developing human potential through leadership in music and arts education. The Glenn Gould School The Glenn Gould School of The Royal Conservatory of Music is an internationally recognized centre for professional training in music performance and pedagogy at the post-secondary and post-bachelor levels. The School provides an intimate training environment, with a curriculum designed to prepare gifted young musicians for all aspects of a professional career. Founded in 1987, The Glenn Gould School was renamed to honour Canada’s legendary pianist in 1997. Young Artists Performance Academy The Young Artists Performance Academy of The Royal Conservatory of Music provides a comprehensive program structure that develops performance skills, musicianship and academic excellence in talented young musicians. The Academy offers high-level performance training in piano, strings, winds, brass and voice, within a supportive and nurturing community of students and teachers, to gifted musicians age nine to 18. The RCM Community School The RCM Community School is one of the largest community-based music schools in North America. Designed for people of all ages and levels of ability, it is recognized for its outstanding Early Childhood Education programs and its commitment to life-long learning. The high quality practical and academic instruction offered by The RCM Community School represents a variety of musical traditions, including early music, classical, popular, folk, jazz and world music. Learning Through the Arts Learning Through the Arts (LTTA) is an acclaimed educational initiative that helps teachers motivate their students by using the arts to deliver core curriculum. Created in 1994 as a way to enhance the goals, methods and culture of public education, LTTA is now one of the world’s most innovative educational programs with major national and international potential for growth. RCM Examinations With representation in more than 300 Canadian communities and a strong international presence, RCM Examinations sets and supports standards in music examinations that have made it one of the most highly regarded organizations of its kind in the world. The Frederick Harris Music Co., Limited Established in 1904, The Frederick Harris Music Company is the oldest and largest print-music publisher in Canada. With distribution in more than 25 countries, it is the exclusive publisher of all Royal Conservatory-authored publications. These internationally acclaimed publications provide teachers and students with unique and innovative teaching materials of the highest quality.

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MESSAGE FROM THE DEAN It gives me great pleasure as newly appointed Dean to welcome each of you to the 2007-2008 academic year at The Glenn Gould School. This is an exciting time in the evolution of the School. The move back to the state-of-the-art Telus Centre for Performance and Learning is imminent, and it is certain that each of you will have some kind of access to this exciting new facility in the coming year. I am sure the minute you set foot inside this building you will share the excitement we are all feeling. Whether you are starting your first year of PDP or completing your last year of ADP, I am aware that this is a critical time in your lives. Indeed, I look back at the years of my undergraduate and graduate studies as the time when I was able to create the foundation for everything that was to follow in my professional life. With that in mind, we at the School will continue to make every possible effort to provide for each of you the needed opportunities to better yourselves as artists. Whether through your individual lessons, master classes or courses, or through the exciting concert experiences that await you in the vibrant city of Toronto, the opportunities will be there for you. I look forward to experiencing this year with you, and you can be sure I will do everything possible to enable each of you to have an artistically rewarding year.

James Anagnoson Dean, The Glenn Gould School

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IMPORTANT NOTICES The Academic Calendar of The Glenn Gould School (GGS) is published in both online and printed edition. Every effort has been made to ensure the compatibility of both versions. In the case of any discrepancy, the online ver-sion shall apply. Any post-publication corrections and/or updates to the print edition of the Academic Calendar will be posted on The Glenn Gould School Registrar’s website at: http://www.rcmusic.ca. Students are strongly advised to check back regularly to keep informed of changes. The School reserves the right to change without notice any information contained in this Calendar, including any rule or regulation pertaining to the standards for admission, the requirements for the continuation of study in, or the requirements for the granting of diplomas in any or all of its programs. The publication of information in this Calendar does not bind the School to the provision of courses, programs, schedules of studies, or facilities as listed herein. The School will not be liable for any interruption in, or cancellation of, any academic activities as set forth in this Calendar for any cause of any kind which is beyond the reasonable control of the School. CHANGES IN PROGRAMS The programs that our Calendar lists and describes are available for the academic year(s) to which the Calendar applies. They may not necessarily be available in later years. If the School must change the content of programs or withdraw them, all reasonable possible advance notice and alternative instruction will be given. The School will not, however, be liable for any loss, damages, or other expenses that such changes might cause. CHANGES IN COURSES For each program offered by The Glenn Gould School, the courses necessary to complete the minimum requirements of the program will be made available. We must, however, reserve the right to otherwise change the content of courses, instructors and instructional assignments, enrolment limitations, prerequisites and co-requisites, grading policies, and timetables without prior notice. CHANGES IN REGULATIONS AND POLICIES The School has several policies that are approved by the Academic Review Committee and/or Divisional Committee that apply to all students registered in courses and programs offered by the School. The School’s rules and regulations are presented in the pages that follow. The School assumes that each student has become familiar with these policies. In applying for admission to the School the student assumes certain responsibilities to the School and, if admitted and registered, shall be subject to the rules, regulations, and policies cited in the Cal-endar, as amended from time to time. Policy changes are prevailing and previous policy statements may not be invoked retroactively unless otherwise stated. FEES AND OTHER CHARGES The School reserves the right to alter the fees and other charges described in the Calendar. CALENDAR AND REGISTRATION LIMITATIONS The School makes every reasonable effort to plan and control enrolment to ensure that all of our students are qualified to complete the programs to which they are admitted, and to strike a practicable balance between enrolment and available instructional resources. Sometimes such a balance cannot be struck and the number of qualified students exceeds the instructional resources that we can reasonably make available while at the same time maintaining the quality of instruction. In such cases, we must reserve the right to limit enrolment in the programs, courses or sections listed in the Calendar, and to withdraw courses or sections for which enrolment or resources are insufficient. The School will not be liable for any loss, damages, or other expenses that such limitations or withdrawals might cause. COPYRIGHT IN INSTRUCTIONAL SETTINGS If a student wishes to tape-record, photograph, video-record or otherwise reproduce class presentations or course materials provided by instructors, he or she must obtain the instructor’s written consent beforehand. Otherwise all such reproduction is an infringement of copyright and is absolutely prohibited. In the case of private use by students with disabilities, the instructor’s consent will not be unreasonably withheld. 7 CHAPTER 6 CHAPTER 5 CHAPTER 4 CHAPTER 3 CHAPTER 2 CHAPTER1

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STUDENT I.D. (RCM NUMBER) Each student at the Royal Conservatory of Music is assigned a unique identification number. The number is confidential. The Conservatory, through The Glenn Gould School (The GGS) strictly controls access to Student I.D. numbers. The GGS assumes and expects that students will protect the confidentiality of their Student I.D. NOTICE OF COLLECTION CONCERNING FREEDOM OF INFORMATION AND PROTECTION OF PRIVACY The Royal Conservatory of Music and The Glenn Gould School respect students’ privacy. Personal information that you provide to the Conservatory is collected for the purpose of administering admissions, registration, academic programs, school related student activities, activities of student clubs and associations, financial assistance and awards, graduation, and for the purpose of statistical reporting to government agencies. Any change in the following must therefore be reported immediately to The GGS Registrar:

1. legal name 2. mailing and permanent address and telephone number 3. mailing address and telephone number during the school year (if different from above) 4. social insurance number 5. citizenship status in Canada.

At all times personal information will be protected in accordance with the Freedom of Information and Protection of Privacy Act and will not be disclosed without the express written consent of the student, except in the following situations governed by institutional policy or statues of law:

a) for the purpose of complying with a subpoena, warrant, or order issued or made by a court, per-son, or body with jurisdiction to compel the production of information;

b) in an emergency, if that information is required to protect the health or safety of the student or other persons;

c) for the purposes of conducting research on behalf of The GGS. This is done only under signed agreements to maintain confidentiality and to ensure no personally identifying information is made public. Pursuant to this, students will be requested to sign a Privacy Statement Waiver at the begin-ning of each academic year.

If you have questions regarding any of the foregoing, please consult with The GGS Registrar.

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IMPORTANT DATES 2007-2008

JULY 2007 1 HOLIDAY - Canada Day 29 Deadline - Returning Student Deposit AUGUST 2007 6 HOLIDAY - Civic Holiday 24 Deadline - 1st Semester Tuition SEPTEMBER 2007 3 HOLIDAY - Labour Day 4-9 Orientation 7 Placement Audition - RCO 10 Fall semester classes begin 14 Deadline - Additional Bursary - 1st round 21 All Students’ Meeting 30 Deadline - add Fall or Full-year courses OCTOBER 2007 1 Deadline - Intent to Graduate forms 8 HOLIDAY - Canadian Thanksgiving 14 Deadline - drop Fall semester courses 15-19 Project Week 1 (Orchestra), all classes cancelled 31 Deadline - Applications for Concerto Competition NOVEMBER 2007 9 Concerto Competition Performance Schedule posted (tentative) 19-23 Project Week 2 (Orchestra), all classes cancelled DECEMBER 2007 4 Concerto Competition, 1st round 6 Concerto Competition, final round 13 Last day of classes (Fall semester) 11-13 “Pandora’s Locker” performances 14-18 Mid term and/or final Fall semester examinations

DECEMBER 2007 (continued) 18-19 Mock Auditions (Orchestral) 20-Jan13 HOLIDAY— Seasonal Break JANUARY 2008 14 Spring semester classes begin 15 Deadline—2nd Semester Tuition 18 Deadline - Additional Bursary - 2nd round 19 Deadline - add or drop Spring semester courses 19 Deadline - drop Full-year courses FEBRUARY 2008 11-15 Project Week 3 (Orchestra), all classes cancelled. 11-15 Reading Week for Opera participants 25-Mar 2 Reading Week, all classes cancelled 25-Mar 2 Rehearsal Week for Opera participants MARCH 2008 31-Apr6 Project Week (Opera), all classes cancelled APRIL 2008 4-10 “Marriage of Figaro” performances 26 Last day of classes (Spring semester) 25-28 Final examinations, Spring and Full-Year courses 29 PDP Juries 29 Orchestral Mock Auditions 30 Voice Mock Auditions MAY 2008 31 Deadline—Changing Private Teacher form (for

next academic year) 31 Deadline for completion of all recital performances

CLASS REGISTRATION INFORMATION

• The academic year is comprised of 31 weeks: 24 Weeks of Classes/26 Weeks of Applied Study 2 Weeks of academic exam periods (end of each semester) 4 Project Weeks (Orchestra and Opera-week)

• Fall Semester Classes begin: Monday, September 10, 2007 • Fall Semester Classes end: Thursday, December 13, 2007 • Mid Term or Final Examinations: December 14-18, 2007 • Spring Semester Classes begin: Monday, January 14, 2008 • Spring Semester Classes end: Thursday, April 24, 2008 • Final Examinations: April 25-28, 2008

The academic year ends on Wednesday, April 30, 2008

BUILDING CLOSURES HOLIDAY CLOSURE DATE

Labour Day - September 3, 2007 September 2-4

Thanksgiving Day - October 8, 2007 October 7-8

Winter Break December 20 - January 13

Good Friday March 21, 2008

Easter Sunday March 23, 2008

Victoria Day May 19, 2008

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2007-2008 CALENDAR

JUNE 2007 Sun Mon Tue Wed Thu Fri Sat

1 2

3 4 5 6 7 8 9

10 11 12 13 14 15 16

17 18 19 20 21 22 23

24 25 26 27 28 29 30

JULY 2007 Sun Mon Tue Wed Thu Fri Sat

1 2 3 4 5 6 7

8 9 10 11 12 13 14

15 16 17 18 19 20 21

22 23 24 25 26 27 28

29 30 31

AUGUST 2007 Sun Mon Tue Wed Thu Fri Sat

1 2 3 4

5 6 7 8 9 10 11

12 13 14 15 16 17 18

19 20 21 22 23 24 25

26 27 28 29 30 31

SEPTEMBER 2007

Sun Mon Tue Wed Thu Fri Sat

1

2 3 4 5 6 7 8

9 10 11 12 13 14 15

16 17 18 19 20 21 22

24 25 26 27 28 29

OCTOBER 2007


1 2 3 4 5 6

7 8 9 10 11 12 13

14 15 16 17 18 19 20

21 22 23 24 25 26 27

28 29 30 31

NOVEMBER 2007


1 2 3

4 5 6 7 8 9 10

11 12 13 14 15 16 17

18 19 20 21 22 23 24

25 26 27 28 29 30

DECEMBER 2007 Sun Mon Tue Wed Thu Fri Sat

1

2 3 4 5 6 7 8

9 10 11 12 13 14 15

16 17 18 19 20 21 22

25 26 27 28 29

JANUARY 2008 Sun Mon Tue Wed Thu Fri Sat

1 2 3 4 5

6 7 8 9 10 11 12

13 14 15 16 17 18 19

20 21 22 23 24 25 26

27 28 29 30 31

FEBRUARY 2008 Sun Mon Tue Wed Thu Fri Sat

1 2

3 4 5 6 7 8 9

10 11 12 13 14 15 16

17 18 19 20 21 22 23

24 25 26 27 28 29

MARCH 2008 Sun Mon Tue Wed Thu Fri Sat

1

2 3 4 5 6 7 8

9 10 11 12 13 14 15

16 17 18 19 20 21 22

25 26 27 28 29

APRIL 2008 Sun Mon Tue Wed Thu Fri Sat

1 2 3 4 5

6 7 8 9 10 11 12

13 14 15 16 17 18 19

20 21 22 23 24 25 26

27 28 29 30

MAY 2008 Sun Mon Tue Wed Thu Fri Sat

1 2 3

4 5 6 7 8 9 10

11 12 13 14 15 16 17

18 19 20 21 22 23 24

25 26 27 28 29 30 31

JUNE 2008 Sun Mon Tue Wed Thu Fri Sat

1 2 3 4 5 6 7

8 9 10 11 12 13 14

15 16 17 18 19 20 21

22 23 24 25 26 27 28

29 30

JULY 2008 Sun Mon Tue Wed Thu Fri Sat

1 2 3 4 5

6 7 8 9 10 11 12

13 14 15 16 17 18 19

20 21 22 23 24 25 26

27 28 29 30 31

AUGUST 2008 Sun Mon Tue Wed Thu Fri Sat

1 2

3 4 5 6 7 8 9

10 11 12 13 14 15 16

17 18 19 20 21 22 23

25 26 27 28 39 30

30 23

30 23

24 31

23 30

24 31

24 31

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FACULTY OF THE GLENN GOULD SCHOOL

APPLIED MUSIC

Bassoon Fraser Jackson Nadina Mackie Jackson Kathleen McLean

Cello Bryan Epperson David Hetherington Paul Widner

Clarinet Joaquin Valdepeñas

Double Bass Jeffrey Beecher Joel Quarrington

Flute Leslie Newman Julie Ranti Kathleen Rudolph Nora Shulman

Harp Judy Loman

Horn Neil DeLand Christopher Gongos

Oboe Keith Atkinson Richard Dorsey Sarah Jeffery *

Percussion David Kent John Rudolph Voice Stephanie Bogle Joel Katz Jean MacPhail Roxolana Roslak Eraine Schwing-Braun Donna Sherman Monica Whicher *

Piano James Anagnoson Marc Durand Leon Fleisher * Leslie Kinton David Louie Andrew Markow Marietta Orlov John Perry * Guest Faculty

Trombone Jeffrey Hall (bass) Gordon Wolfe Trumpet Andrew McCandless Tuba Sasha Johnson

Violin Atis Bankas Marie Bérard Jeanne Lamon Erika Raum Mayumi Seiler Steven Sitarski * Viola Steven Dann

ACADEMIC STUDIES Dr. Francis Broun Dr. Burke Cullen MUSIC MATERIALS Mr. Dean Burry Mr. Michael Esch Dr. Chris Foley Mr. Joel Katz Ms Larysa Kuzmenko Dr. Janet Lopinski Mr. Sheldon Nadler Dr. Kathleen Rudolph

PERFORMANCE STUDIES Mr. John Abberger Ms Marina Carletti Mr. Tom Diamond Mr. Brahm Goldhamer Mr. Markus Howard Mr. Joel Katz Ms Vera Kaushansky Mr. Andrew Kwan Ms Jeanne Lamon Mr. William Littler Ms Diane Loeb Mr. Peter Longworth

Mr. Andrew Markow Ms Jean McPhail Ms Ann Monoyios Mr. Jason Nedecky Ms Charlotte Nediger Mr. Jurgen Petrenko Dr. Katharine Rapport Dr. Margot Rejskind Ms Roxolana Roslak Dr. Kathleen Rudolph

Ms Eraine Schwing-Braun Mr. Guillermo Silva-Marin Ms Jennifer Tarver Mr. George Thurgood Mr. Peter Tiefenbach Mr. David Visentin Ms Monica Whicher Mr. Michael White Mr. Paul Widner

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TABLE OF CONTENTS Message from the Dean 3 Important Notices 4-5 Important Dates 6 2007-2008 Calendar 7 Faculty of the Glenn Gould School 8 Performance Diploma Program—Overview 10 Bachelor of Music Option - Information 10 Performance Diploma - Piano 11-16 Performance Diploma - Orchestral 17-22 Instruments Performance Diploma - Voice 23-28 Artist Diploma Program 29 Artist Diploma Program - Piano 30-32 Artist Diploma Program - Orchestral 33-35 Instruments Artist Diploma Program - Voice 36-38

Academic Policies 39-42 Administrative Policies 43-46 Financial Information 47-49 Student Services 49-51 Juries, Recitals and Master Classes 52-54 Index of Courses 55-56 Administrative Directory 57

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PERFORMANCE DIPLOMA PROGRAM (PDP)

The PDP program is uniquely designed for high school graduates who wish to prepare for a career as a performer. It is an intensely practical program that provides the hands-on training required to succeed as a professional artist. Students receive a thorough grounding in theory, history and musicianship, as well as instruction in communications, technology, teaching methods, and materials. Upon successful comple-tion of the Performance Diploma Program graduates are accorded with the Performance Diploma. All courses in all programs are mandatory, but not all courses are offered in every year. Students are advised of the spe-cific course offerings for each year during the course registration period. ● Disciplines: Piano, Voice, All Orchestral Instruments ● Program Length: 4 Years ● Admission Requirements: Secondary School diploma or equivalent, with minimum GPA of 2:00 (C or 65%); English proficiency Competitive entrance audition All Performance Diploma programs are offered on a full-time basis only, and all courses listed within a given program outline are compulsory. BACHELOR OF MUSIC (Performance) OPTION

Thompson Rivers University, Open Learning (TRU-OL) and The Glenn Gould School (GGS) of The Royal Conservatory of Music have developed an Articulation Agreement that enables graduates of the GGS Performance Diploma Program (PDP) to transfer a block of credits toward the TRU-OL Bachelor of Music (Performance) degree, for studio and class work completed in The GGS-PDP program. The TRU-OL degree requires 120 credits to graduate. Under the Articulation Agreement graduates of the PDP may transfer 70 credits (35 lower level and 35 upper level) to meet the studio requirements of the TRU-OL degree. PDP graduates may also transfer up to 29 credits of history and theory of music on a course by course basis. The additional 21 credits required for the completion of the TRU-OL Bachelor of Music (Performance) degree are general education requirements (English: 6 credits, Humanities: 6 cred-its; Natural Science or Math: 3 credits, and Social Science: 6 credits). These credits can be taken through TRU-OL (including through its Open Learning Division) or through course articulations approved by TRU-OL (subject to students meeting the TRU-OL minimum residency requirement which is currently 6 credits). This degree opportunity is available only to students who have graduated with a GGS-PDP diploma from the program which was implemented beginning in 1997. All programs and courses are subject to change or cancellation based on insufficient enrolment. For more information, please contact: Thompson Rivers University, Open Learning Leslie Dyck, Program Advisor Tel: 250.852.6442 Toll-free (Canada):1.800.663.1663 ext. 6442 Email: [email protected] The Glenn Gould School Sandra Walker, Registrar Tel: 416.408.2824 ext. 253 Fax: 416.408.3096 Email: [email protected]

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PERFORMANCE DIPLOMA PROGRAM Piano The Royal Conservatory of Music has an Articulation Agreement with Thompson Rivers University - Open Learning. Students who successfully complete the PDP program have the option to apply to TRU-OL for their Bachelor of Music program.

REQUIRED COURSES AND RECOMMENDED SEQUENCE

Credits for Performance Diploma Lower Level Upper Level

YEAR 1 2 3 4

APPLIED STUDIES

Applied Music 3 3 3 3

Recital (639-003—Yr 1 elective) (639-004—Yr 2) (639-005—Yr 3) (639-006—Yr 4) 2 3 4

Master Class (626-006) 2 2 2

PERFORMANCE STUDIES - COMMON

Technology for Performers (646-001 or 646-003) 2

Technology for Performers - Directed Study (646-004) 1

Communications (602-002) 3

Career Management (598-001) 1

Performing Arts Criticism (621-003) 3

Performance Awareness (636-002) 2

Teaching Methodology - Fall/Spring (633-001/633-003) 2

PERFORMANCE STUDIES - PIANO

Choir (600-001) 3

Chamber Music (667-001) 3 3 3

Art Song/Operatic Repertoire (597-001, 597-002, 597-003, 597-004) 3 3

Piano Duos (638-001) 2

Keyboard Harmony 3 - Improvisation (623-008) 2

Keyboard Harmony 4 - Jazz (623-009) 2

Historical Performance Practices (619-001) 2

Choral Conducting (607-002) 2

Sonata Repertoire (645-002) 2 2

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MUSIC MATERIALS

Materials 1 - Theory (627-002) 3



Materials 1 - Keyboard Harmony (623-007) 1.5


Materials 1 - Aural Skills (627-010) 1.5


Introduction to Music History (618-008) 4

Music History - Bibliography (618-005) 1

Music Literature 1 - ca. 1600 to 1890 (625-019) 3

Music Literature 2 - 1890 to present (625-022) 3

Music History Review (618-009) 4

Special Topics

ACADEMIC STUDIES

English 100 - Literature and Composition (621-004) 3

Art History Courses - Any two (621-005, 621-006, 621-007, 621-008) 3

Credits Per year for Performance Diploma 22 30 32 29

Credits Required for PDP - Piano Graduation: 113

Bachelor of Music

General Education Requirement in addition to the above

English 101 (621-009) 3

Humanities (The remaining two Art History Courses can be taken as Humanities credit) 3

Science/Math 3

Social Science 6

Total General Education Requirements: 15 Credits Required for TRU-OL Bachelor of Music degree option (Piano): 128

Lower Level Upper Level

Canadian Repertoire (627-019) 3

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PERFORMANCE DIPLOMA PROGRAM Piano

APPLIED STUDIES APPLIED MUSIC 3 credits Each student receives 1.5 hours of private instruction per week, the equivalent of 39 hours per academic year. First year students perform a juried evaluation in the Spring. Jury marks represent 40% of the first year applied music mark. Students are required to practice a minimum of 4 hours per day. RECITAL (639-003– Yr 1 elective) (639-004—Yr 2) (639-005—Yr 3) (639-006—Yr 4) 2 credits - 2nd year, 3 credits - 3rd year, 4 credits - 4th year Students in first year are encouraged to perform a non-credit recital. Students must perform a major public recital in the second, third and fourth years of the program. MASTER CLASS (626-006) 2 credits Co-ordinator – To Be Announced Frequent master classes are given by international artists and by our own faculty. Please note that student performance opportunities are at the discretion of the visiting artist, the master class Co-ordinator, and the Dean. The Master Class Schedule will be available at the beginning of the school year. Updates and changes will be posted regularly outside GGS Administrative Offices. Note - Master Class is compulsory in Years 2, 3 and 4.

PERFORMANCE STUDIES – Common TECHNOLOGY FOR PERFORMERS (646-001 or 646-003) 2 credits Instructor – Michael White Students will acquire proficiency in those computer and new media tools useful for a career as a professional musician. Topics covered will include: electronic press kits, internet, music sequencing, hard disc recording and editing, CD mastering and creation. Students will be expected to apply lessons learned in the course toward the completion of assignments in lab work between sessions. Pre-requisite – Materials 1 – Theory (627-002)

TECHNOLOGY FOR PERFORMERS – DIRECTED STUDY(646-004)1 credit Advisor – Michael White Using the tools learned in Technology for Performers, students will select their own course of study, i.e. creating Web pages, tapes, CDs or electronic media packages. Pre-requisite – Technology for Performers (646-001 or 646-003)

COMMUNICATIONS – MUSIC & COMMUNITY (602-002) 3 credits Instructor – Andrew Kwan Students will explore the meaning of art, its relation to each individual, the artist, audience and concert and then apply performance/psychological aspects in a practicum with the Toronto community. Participants will learn new ways to communicate their art to the public. The goal of this class is to reach out to the community and perform concerts in schools, concert halls, as well as in hospitals, prisons and other less-fortunate settings. Pre-requisite – Completed 2nd year

CAREER MANAGEMENT (598-001) 1 credit Instructor – Andrew Kwan Designed specifically to prepare the music student for the complex demands of a performing career, this course facilitates the learning of business, writing, marketing and negotiation skills. Course relies on the expertise of professionals in the field. Pre-requisite – Completed 2nd year PERFORMING ARTS CRITICISM (621-003) 3 credits Instructor – William Littler Students attend performances and submit reports and reviews for class discussion no later than 48 hours after the event. Critical models will be examined. Pre-requisite – Completed 2nd year PERFORMANCE AWARENESS (636-002) 2 credits Co-ordinator - David Visentin Beginning with a discussion of a particular stress-reducing technique, each class proceeds with breathing, stretching and meditation exercises. Pre-requisite – Completed 1st year TEACHING METHODOLOGY (633-001) 1 credit Instructor – Andrew Markow Topics will include cognitive psychology, unlocking each student's potential through Neuro-linguisitic programming, developmental issues, and methods to inspire and motivate students. Pre-requisite – Completed 2nd year TEACHING METHODOLOGY – Piano (633-003) 1 credit Instructor – Andrew Markow A continuation of Teaching Methodology (Fall). In the 2nd semester, RCM faculty and guest artists will act as Co-ordinators to deliver further topics such as Elements of Style, Sound Production and Concert/Audition/Festival preparation. Pre-requisite – Teaching Methodology (633-001) PERFORMANCE STUDIES – Piano CHOIR (600-001) 3 credits Instructor – Dr. Margot Rejskind Preparation and performance of a diverse choral repertoire. Sessions and performances are combined with The RCM Community School Repertory Chorus. Pre-requisite – None *SONATA REPERTOIRE (645-002) 2 credits Instructor – Peter Longworth Students prepare and perform standard sonata repertoire for piano and one instrument. Pre-requisites - Piano Duos (638-001)

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*CHAMBER MUSIC (667-001) 3 credits Co-ordinator – Paul Widner

Students prepare and perform chamber music. Regular chamber music coaching is provided. The weekly performance class is

taught by GGS Faculty and guest artists. Pre-requisite – None

ART SONG/OPERATIC REPERTOIRE – 20th Century Art Song (597-001) 1.5 credits Instructors – Brahm Goldhamer, Roxolana Roslak Offers singers and pianists an intensive study of the modern Art Song Repertoire, allowing for emphasis on the relationship between poetic text and music. Pre-requisites – Piano Duos (638-001) ART SONG/OPERATIC REPERTOIRE – Opera (597-002) 1.5 credits Instructors – Brahm Goldhamer, Joel Katz Offers singers and pianists an intensive study of the 19th and 20th century music drama, allowing for emphasis on the relationship between poetic text and music. Pre-requisites – Piano Duos (638-001) ART SONG/OPERATIC REPERTOIRE – French Art Song (597-003)1.5 credit Instructors – Brahm Goldhamer, To Be Announced Offers singers and pianists an intensive study of the French Art Song Repertoire, allowing for emphasis on the relationship between poetic text and music. Pre-requisites – Piano Duos (638-001) ART SONG/OPERATIC REPERTOIRE – Lied Study (597-004) 1.5 credit Instructors – Brahm Goldhamer, Monica Whicher Offers singers and pianists an intensive study of the 19th-Century Lied, allowing for emphasis on the relationship between poetic text and music. Pre-requisites – Piano Duos (638-001) PIANO DUOS (638-001) 2 credits Instructor – Leslie Kinton This performance class is devoted to the study of the repertoire for piano duos and duets. Pre-requisite – None KEYBOARD HARMONY 3 - IMPROVISATION (623-008) 2 credits Instructor – George Thurgood Advanced work on improvisation in classical and popular styles, score reading, continuo and analysis. Students work periodically in pairs or groups. Pre-requisite – Materials 2 – Theory (627-001) Co-requisite – Materials 3 –Theory (627-008) KEYBOARD HARMONY 4 – JAZZ (623-009) 2 credits Instructor – George Thurgood Students play and improvise 12-bar blues, and practice exercises in a wide variety of progressions and styles. Mini-survey of styles from ragtime to modern jazz. Course includes pairs and group work. Pre-requisite – Materials 2 – Theory (627-001)

HISTORICAL PERFORMANCE PRACTICES - KEYBOARD (619-001) 2 credits Instructor - Charlotte Nediger A study of tempo, rhythm, phrasing, articulation, ornamentation and dynamics in keyboard music of J.S. Bach, Domenico Scarlatti and C.P.E. Bach. Pre-requisite - Completed 2nd Year CHORAL CONDUCTING (607-002) 2 credits Instructor – Dr. Margot Rejskind This course is designed to introduce students to the basic techniques of choral conducting. Topics will include gesture and communication, beat patterns and other basic techniques, metrical problems, differences between choral and instrument idioms, score preparation/analysis, accompanists and accompaniment, effective rehearsal techniques and developing good diction and tone. Pre-requisite – None *GGS Administration will make assignments in ensemble classes. Best efforts will be made to accommodate students’ wishes.

MUSIC MATERIALS MATERIALS 1 – THEORY (627-002) 3 credits Instructor – Larysa Kuzmenko A study of basic tonal harmony, instrumentation, composition, and counterpoint with additional emphasis on simple structural forms. Students compose for class performance inventions, songs and instrumental pieces. Works are analyzed from the Baroque period and from repertoire performed by the RCO. Dictation exercises include intervals, triads, melodies, harmonic progressions, and rhythms. Co-requisite – Materials 1 – Keyboard Harmony (623-007), Aural Skills (627-010) MATERIALS 2 – THEORY (627-001) 3 credits Instructor – Larysa Kuzmenko A study of the classical principles of form and composition with particular attention devoted to variations, rondo, sonata allegro, concerto, and symphony, focusing on their development during the 18th and 19th centuries. Works performed by the RCO will be incorporated into the curriculum. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-requisites – Materials 2 – Keyboard Harmony (623-005), Aural Skills (627-014) MATERIALS 3 – THEORY (627-008) 4 credits Instructor: Larysa Kuzmenko A study of chromaticism in tonal and post-tonal music with special emphasis on 19th and early 20th century forms and compositional techniques. Instrumental and vocal works are discussed prior to assignments in analysis and composition. Aspects of orchestration will include scoring short piano excerpts, and devising piano reductions. Dictation exercises include chromatic melodies, typical harmonic progressions and modulations. Works performed by the RCO will be incorporated and discussed. Pre-requisites – Materials 2 – Theory (627-001), Keyboard Harmony (623-005), Aural Skills 1 (627-014)

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MATERIALS 1 – KEYBOARD HARMONY (623-007) 1.5 credits Instructor – Larysa Kuzmenko Music reading and related aural skills are developed through the practice and application of sight-reading techniques and ear-training procedures. This course includes singing and/or identification of scales, intervals, and chords, aural analysis of simple harmonic progressions, sight singing of simple rhythms and melodies. Co-requisites - Materials 1 - Theory (627-002), Aural Skills (627-010) MATERIALS 2 – KEYBOARD HARMONY (623-005) 1.5 credits Instructor – Larysa Kuzmenko Harmonization of figured bass, sight reading in score form of 3 to 5 parts using C clefs and some transpositions, secondary dominants, and modulation using pivot chords. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-requisites – Materials 2 –Theory (627-001), Aural Skills 2 (627-014) MATERIALS 1 – AURAL SKILLS (627-010) 1.5 credits Instructor – Larysa Kuzmenko Sight-singing, ear training, and dictation exercises pertaining to rhythm, intervals and those scales, melodies, cadences and progressions employed in major-minor tonality. Co-Requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007) MATERIALS 2 – AURAL SKILLS (627-014) 1.5 credits Instructor – Larysa Kuzmenko Sight-singing, ear training, and dictation exercises pertaining to rhythm and polyrhythms, intervals and those scales, chromatic melodies and progressions characteristic of music from the 19th century to the present. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-Requisites – Materials 2 – Theory (627-001), Keyboard Harmony (623-005)

INTRODUCTION TO MUSIC HISTORY (618-008) 4 credits Instructor – Dr. Janet Lopinski An introduction to a diverse range of repertoire and the cultural, technological and stylistic contexts from which it emerged. Pre-requisite – None MUSIC HISTORY - BIBLIOGRAPHY (618-005) 1 credit Instructor – Dr. Janet Lopinski Practical work in library and internet research methods and bibliography. Pre-requisite – None Co-requisite – Introduction to Music History (618-008) MUSIC LITERATURE 1 (ca.1600 to 1890) – Piano (625-019) 3 credits Instructor - Michael Esch A study of styles and works for the student’s principal area of applied study from ca. 1600-1890. Pre-requisite – Introduction to Music History (618-008)

MUSIC LITERATURE 2 (1890 to present) – Piano (625-022) 3 credits Instructor – To Be Announced A study of styles and works for the student’s principal area of applied study from ca. 1890 to the present. Pre-requisite – Introduction to Music History (618-008) MUSIC HISTORY REVIEW (618-009) 4 credits Instructor – Dr. Janet Lopinski A course for students in their graduating year which places Western concert music in historical perspective. Pre-requisites – Introduction to Music History (618-008), Music Literature 1 (625-019), Music Literature 2 (625-022)

CANADIAN REPERTOIRE (627-019) 3 credits Instructor – Dean Burry An in depth study of Canadian compositions in a variety of genres and styles; links to developments in Canadian art and literature will be noted. Each student will investigate extensively at least two works; this research will culminate in substantial papers and when feasible, performances---one of these works should be a composition the student believes has been unjustly overlooked and for which s/he can be a persuasive advocate. Pre-requisite – Materials 2 – Theory (627-001) SPECIAL TOPICS Instructor – To Be Announced On occasion, courses other than those included in this Academic Calendar will be offered. ACADEMIC STUDIES ENGLISH 100 – Literature and Composition I (621-004) 3 credits Instructor – Dr. Burke Cullen This basic literature and composition course is split equally between a thorough review of the mechanics of writing and an introduction to reading and writing about works of literature. Each course unit includes a selection of composition (grammar, punctuation, sentence structure and diction) and a section on literature. During the year, students will read approximately 20 short stories, one novella and a novel. Pre-requisite – Grade 12 English or equivalent **ENGLISH 101 – Poetry & Drama (621-009) 3 credits Instructor – Dr. Burke Cullen One of the central themes of the first six weeks of the course is the relationship between poetry and music. Almost all poems chosen for study have, either in their motifs or their prosody, close ties to music. Most poems on the course list are from the twentieth century, and many are among the best known poems in the English language canon. Students study both formal poetic practices and conventions of free verse. Three plays are studied in the second half of the course. Students examine the principles of both tragedy and comedy and are asked to consider staging techniques, characterization, and social issues. The plays range from the beginning of the seventeenth century to the late twentieth century. Social and historical contexts are central. Pre-requisite – English 100 (621-004) or equivalent **Note: This course is offered for B. Music degree students. Students enrolled in this course must pay an additional tuition fee of $600.00.

16

***BAROQUE ART IN ITALY AND SPAIN (621-005) 1.5 credits Instructor – Dr. Francis Broun The classical style of Annibale Carracci will be contrasted with the more romantic works of Caravaggio. Works of their pupils and followers such as Artemisia Gentilleschi, the Neapolitan sculptor Bernini, and the French masters Poussin and Claude Lorrain, will be surveyed. The Golden Age of Spanish art will be represented by Zurbaran, Murillo and, most notably Velazquez. Pre-requisite – None ***FLEMISH AND DUTCH BAROQUE PAINTING (621-006) 1.5 credits Instructor – Dr. Francis Broun Works of the Flemish painters Rubens and van Dyck which catered to the demand for Grand Manner renditions of religious and mythological themes and for portraiture will be studied, as will works of the Dutch masters Hals, Vermeer and Rembrandt who specialized in portraits, landscapes and genre. Pre-requisite – None ***FRENCH, ROCOCO & ENGLISH ART OF THE 18TH AND 19TH CENTURIES (621-007) 1.5 credits Instructor – Dr. Francis Broun The splendid art and architecture of Versailles which flattered the ego of Louis XIV will be contrasted to the more elegant and intimate works of Rococo artists such as Watteau, Boucher, Chardin and Fragonard. English society as satirized by Hogarth, as glorified by Reynolds and as romanticized by Gainsborough will be examined. Blake’s world of his own creation, Constable’s familiar one and the grand and impassioned images of Turner will be explored. Also considered will be the Pre-Raphaelites such as Millais, Hunt and Rossetti and much-reviled Academics like Alma-Tadema and Leighton. Pre-requisite – None (although Baroque art courses are recommended) ***FRENCH ART IN THE 19TH CENTURY (621-008) 1.5 credits Instructor – Dr. Francis Broun These four broad categories of painting in 19th Century France will be considered: Neoclassicism as represented by David and Ingres; Romanticism by Gericault and Delacroix; Realism by Courbet and Daumier; and Impressionism with its remarkable variety of styles and interests by Manet, Monet, Renoir, Degas, Cezanne, van Gogh and others. Pre-requisite – None (although some or all of the other art history courses are recommended) ***Note— Students enrolling in their third or fourth Art History course must pay a tuition fee of $400.00 for each additional Art History course.

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PERFORMANCE DIPLOMA PROGRAM Orchestral Instruments The Royal Conservatory of Music has an Articulation Agreement with Thompson Rivers University - Open Learning. Students who successfully complete the PDP program have the option to apply to TRU-OL for their Bachelor of Music program.

REQUIRED COURSES AND RECOMMENDED SEQUENCE Credits for Performance Diploma Lower Level Upper Level

YEAR 1 2 3 4

APPLIED STUDIES



Master Class - Strings (626-001), Woodwinds (626-003), Brass (626-004), Harp (626-006), Percussion (626-005)

2 2 2








Teaching Methodology - Fall/Spring (633-001/633-002 (Strings) or 633-006 (Winds)) 2

PERFORMANCE STUDIES - ORCHESTRAL INSTRUMENTS

Royal Conservatory Orchestra (630-001) 4 4 4 4

Sonata Repertoire - Strings (645-002) 2

Chamber Music - Strings (667-001) 3 3 3

Introductory Conducting and Score Reading (607-004) 2

Advanced Conducting and Score Reading (607-001) 2

Orchestral Repertoire (515-008) 2 2

Historical Performance Practices- Strings (619-002) ,Winds (619-006) ,Percussion, Harp 2

Chamber Music - Woodwinds (667-002), Brass (667-004), Percussion, Harp 3 3 3 3

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MUSIC MATERIALS










Music Literature 1 - ca. 1600 to 1890 (Strings 625-020 or Winds 625-021) 3

Music Literature 2 - 1890 to present (Strings 625-023 or Winds 625-024) 3


Special Topics

ACADEMIC STUDIES



Credits Per year for Performance Diploma - Strings 23 34 29 32

Graduation Credits Required for PDP - Strings (118) Woodwinds, Brass, Harp, Percussion (119)

Bachelor of Music


English 101 (621-009) 3


Science/Math 3

Social Science 6

Total General Education Requirements: 15

Credits Required for TRU-OL Bachelor of Music degree option (Orchestral) for Strings: 133

for Woodwinds, Brass, Harp and Percussion : 134



Credits Per year for Performance Diploma - Woodwinds, Brass, Harp, Percussion 24 34 29 32

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PERFORMANCE DIPLOMA PROGRAM

Orchestral Instruments

APPLIED STUDIES APPLIED MUSIC 3 credits Each student receives 1.5 hours of private instruction per week, the equivalent of 39 hours per academic year. Those students whose major instrument is not piano must successfully complete an RCME Grade 6 Piano examination or equivalent prior to graduation (www.rcmexaminations.org). Students may use up to 30 minutes of their private lesson time in the study of a secondary instrument, or towards the preparation of their Grade 6 Piano requirement. First year students perform a juried evaluation in the Spring. Jury marks represent 40% of the first year applied music mark. Students are required to practice a minimum of 2-4 hours per day.

RECITAL (639-003– Yr 1 elective) (639-004—Yr 2) (639-005—Yr 3) (639-006—Yr 4) 2 credits - 2nd year, 3 credits - 3rd year, 4 credits - 4th year Students in first year are encouraged to perform a non-credit recital. Students must perform a major public recital in the second, third and fourth years of the program. MASTER CLASS – Strings (626-001), Woodwinds (626-003), Brass (626-004), Harp (626-006), Percussion (626-005) 2 credits Coordinator – Paul Widner (Strings), Dr. Kathleen Rudolph (Woodwinds), Andrew McCandless (Brass), Judy Loman (Harp) and John Rudolph (Percussion) Frequent master classes are given by international artists and by our own faculty. Please note that student performance opportunities are at the discretion of the visiting artist, the Master Class Coordinator, and the Dean. The Master Class Schedule will be available at the beginning of the school year. Updates and changes will be posted regularly outside GGS Administrative Offices. Note - Master Class is compulsory for Years 2, 3 and 4. PERFORMANCE STUDIES - Common TECHNOLOGY FOR PERFORMERS (646-001 or 646-003) 2 credits Instructor – Michael White Students will acquire proficiency in those computer and new media tools useful for a career as a professional musician. Topics covered will include: electronic press kits, internet, music sequencing, hard disc recording and editing, CD mastering and creation. Students will be expected to apply lessons learned in the course toward the completion of assignments in lab work between sessions. Pre-requisite – Materials 1 – Theory (627-002)

TECHNOLOGY FOR PERFORMERS – DIRECTED STUDY (646-004) 1 credit Advisor – Michael White Using the tools learned in Technology for Performers, students will select their own course of study, i.e. creating Web pages, tapes, CDs or electronic media packages. Pre-requisite – Technology for Performers (646-001 or 646-003) CAREER MANAGEMENT (598-001) 1 credit Instructor – Andrew Kwan Designed specifically to prepare the music student for the complex demands of a performing career, this course facilitates the learning of business, writing, marketing and negotiation skills. Course relies on the expertise of professionals in the field. Pre-requisite – Completed 2nd year

COMMUNICATIONS – MUSIC & COMMUNITY (602-002) 3 credits Instructor – Andrew Kwan Students will explore the meaning of art, its relation to each individual, the artist, audience and concert and then apply performance/psychological aspects in a practicum with the Toronto community. Participants will learn new ways to communicate their art to the public. The goal of this class is to reach out to the community and perform concerts in schools, concert halls, as well as in hospitals, prisons and other less-fortunate settings. Pre-requisite - Completed 2nd year PERFORMING ARTS CRITICISM (621-003) 3 credits Instructor – William Littler Students attend performances and submit reports and reviews for class discussion no later than 48 hours after the event. Critical models will be examined. Pre-requisite – Completed 2nd year PERFORMANCE AWARENESS (636-002) 2 credits Co-ordinator - David Visentin Beginning with a discussion of a particular stress-reducing technique, each class proceeds with breathing, stretching and meditation exercises. Pre-requisite – Completed 1st year

TEACHING METHODOLOGY (633-001) 1 credit Instructor – Andrew Markow Topics will include cognitive psychology, unlocking each student's potential through Neuro-linguisitic programming, developmental issues, and methods to inspire and motivate students. Pre-requisite – Completed 2nd year TEACHING METHODOLOGY – Strings (633-002), Winds (633-006) 1 credit Instructor – Katharine Rapoport (Strings), Dr. Kathleen Rudolph (Winds) A continuation of Teaching Methodology (Fall). In the 2nd semester, RCM faculty and guest artists will act as Co-ordinators to deliver further topics such as Elements of Style, Sound Production and Concert/Audition/Festival preparation. Pre-requisite – Teaching Methodology (633-001) PERFORMANCE STUDIES – Orchestral Instruments ROYAL CONSERVATORY ORCHESTRA (630-001) 4 credits Co-ordinator – David Visentin This is the required major ensemble for all four years of the instrumentalist's program. The RCO prepares and performs representative works from the orchestral literature. Conducted by world-renowned guest conductors. Pre-requisite – Placement audition in September and other auditions as scheduled *SONATA REPERTOIRE - Strings (645-002) 2 credits Instructor – Peter Longworth Students prepare and perform standard sonata repertoire for piano and one instrument. Pre-requisites - None Note - Sonata Repertoire is a requirement for Strings only. When possible, wind, percussion or harp students may be admitted to the class and credits earned will be applied towards Chamber Music requirements.

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**CHAMBER MUSIC - Strings (667-001), Woodwinds (667-002), Brass (667-004) 3 credits Co-ordinators – Paul Widner (Strings), Dr. Kathleen Rudolph (Woodwinds), Gordon Wolfe (Brass) Students prepare and perform chamber music. Regular chamber music coaching is provided. The performance class is taught by GGS Faculty and guest artists. Pre-requisite – None INTRODUCTORY CONDUCTING AND SCORE READING (607-004) 2 credits Instructor – Uri Mayer A study of basic conducting techniques including score-reading, score preparation, baton technique and rehearsal skills. Pre-requisite – Completed 1st year of RCO (630-001), or by permission of instructor ADVANCED CONDUCTING AND SCORE READING (607-001) 2 credits Instructor – Uri Mayer Advanced in-depth study of orchestral score reading covering elements of style, form, instrumental balance, articulation, and phrasing. Pre-requisite – Introductory Conducting and Score Reading (607-004)

ORCHESTRAL REPERTOIRE (515-008) 2 credits Standard orchestral excerpts are studied in instrumental, sectional and full orchestra settings. Mock auditions, reading sessions and excerpt classes with guest artists augment classroom work. Pre-requisite – Completed 2nd year of RCO (630-001) HISTORICAL PERFORMANCE PRACTICES – Strings (619-002) 2 credits Instructor – Jeanne Lamon A study of styles and techniques of performance practice of music composed between ca. 1590-1740 using historical treatises and Baroque techniques specific to the student’s instrument. Pre-requisite -Completed 2nd year HISTORICAL PERFORMANCE PRACTICES – Winds (619-006) 2 credits Instructor – John Abberger A study of styles and techniques of performance practice of music composed between ca. 1590-1740 using historical treatises and Baroque techniques specific to the student’s instrument. Pre-requisite – Completed 2nd year

**Note- GGS Administration will make assignments in ensemble classes. Best efforts will be made to accommodate students’ wishes.

MUSIC MATERIALS MATERIALS 1 – THEORY (627-002) 3 credits Instructor – Larysa Kuzmenko A study of basic tonal harmony, instrumentation, composition, and counterpoint with additional emphasis on simple structural forms. Students compose for class performance inventions, songs and instrumental pieces. Works are analyzed from the Baroque period and from repertoire performed by the RCO. Dictation exercises include intervals, triads, melodies, harmonic progressions and rhythms. Co-requisites – Materials 1 – Keyboard Harmony (623-007), Aural Skills (627-010)

MATERIALS 2 – THEORY (627-001) 3 credits Instructor – Larysa Kuzmenko A study of the classical principles of form and composition with particular attention devoted to variations, rondo, sonata allegro, concerto and symphony, focusing on their development during the 18th and 19th centuries. Works performed by the RCO will be incorporated into the curriculum. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007) Co-requisites – Materials 2 – Keyboard Harmony (623-005), Aural Skills (627-014)

MATERIALS 3 – THEORY (627-008) 4 credits Instructor – Larysa Kuzmenko A study of chromaticism in tonal and post-tonal music with special emphasis on 19th and early 20th century forms and compositional techniques. Instrumental and vocal works are discussed prior to assignments in analysis and composition. Aspects of orchestration will include scoring short piano excerpts and devising piano reductions. Dictation exercises include chromatic melodies, typical harmonic progressions and modulations. Works performed by the RCO will be incorporated and discussed. Pre-requisites – Materials 2 – Theory (627-001), Keyboard Harmony (623-005), Aural Skills (627-014) MATERIALS 1 – KEYBOARD HARMONY (623-007) 1.5 credits Instructor – Larysa Kuzmenko Music reading and related aural skills are developed through the practice and application of sight-reading techniques and ear-training procedures. This course includes singing and/or identification of scales, intervals and chords, aural analysis of simple harmonic progressions, sight singing of simple rhythms and melodies. Co-requisites – Materials 1 – Theory (627-002), Aural Skills (627-010) MATERIALS 2 – KEYBOARD HARMONY (623-005) 1.5 credits Instructor – Larysa Kuzmenko Harmonization of figured bass, sight reading in score form of 3 to 5 parts using C clefs and some transpositions, secondary dominants, modulation using pivot chords. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-requisites – Materials 2 –Theory (627-001), Aural Skills (627-014) MATERIALS 1 – AURAL SKILLS (627-010) 1.5 credits Instructor – Larysa Kuzmenko Sight-singing, ear training and dictation exercises pertaining to rhythm, intervals and those scales, melodies, cadences and progressions employed in major-minor tonality. Co-Requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007) MATERIALS 2 – AURAL SKILLS (627-014) 1.5 credits Instructor – Larysa Kuzmenko Sight-singing, ear training and dictation exercises pertaining to rhythm and polyrhythms, intervals and those scales, chromatic melodies and progressions characteristic of music from the 19th century to the present. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-Requisites – Materials 2 – Theory 2 (627-001), Keyboard Harmony

21

INTRODUCTION TO MUSIC HISTORY (618-008) 4 credits Instructor – Dr. Janet Lopinski An introduction to a diverse range of repertoire and the cultural, technological and stylistic contexts from which it emerged. Pre-requisite – None MUSIC HISTORY - BIBLIOGRAPHY (618-005) 1 credit Instructor – Dr. Janet Lopinski Practical work in library and internet research methods and bibliography. Pre-requisite – None Co-requisite – Introduction to Music History (618-008) MUSIC LITERATURE 1 (ca.1600 to 1890) – Strings (625-020) 3 credits Instructor - Sheldon Nadler A study of styles and works for the student’s principal area of applied study from ca. 1600-1890. Pre-requisite – Introduction to Music History (618-008) MUSIC LITERATURE 1 (ca.1600 to 1890) – Winds (625-021) 3 credits Instructor - Dr. Kathleen Rudolph A study of styles and works for the student’s principal area of applied study from ca. 1600-1890. Pre-requisite – Introduction to Music History (618-008)

MUSIC LITERATURE 2 (1890 to present) – Strings (625-023) 3 credits Instructor – Sheldon Nadler A study of styles and works for the student’s principal area of applied study from ca. 1890 to the present. Pre-requisite – Introduction to Music History (618-008) MUSIC LITERATURE 2 (1890 to present) – Winds (625-024) 3 credits Instructor – Dr. Kathleen Rudolph A study of styles and works for the student’s principal area of applied study from ca. 1890 to the present. Pre-requisite – Introduction to Music History (618-008) MUSIC HISTORY REVIEW (618-009) 4 credits Instructor – Dr. Janet Lopinski A course for students in their graduating year which places Western concert music in historical perspective. Pre-requisites – Introduction to Music History (618-008), Music Literature 1 (625-020/625-024), Music Literature 2 (625-023/625-024) CANADIAN REPERTOIRE (627-019) 3 credits Instructor – Dean Burry An in depth study of Canadian compositions in a variety of genres and styles; links to developments in Canadian art and literature will be noted. Each student will investigate extensively at least two works; this research will culminate in substantial papers and when feasible, performances---one of these works should be a composition the student believes has been unjustly overlooked and for which s/he can be a persuasive advocate. Pre-requisite – Materials 2 – Theory (627-001) SPECIAL TOPICS Instructor – To Be Announced On occasion, courses other than those included in this Academic Calendar will be offered.

ACADEMIC STUDIES ENGLISH 100 – Literature and Composition I (621-004) 3 credits Instructor – Dr. Burke Cullen This basic literature and composition course is split equally between a thorough review of the mechanics of writing and an introduction to reading and writing about works of literature. Each course unit includes a selection of composition (grammar, punctuation, sentence structure and diction) and a section on literature. During the year, students will read approximately 20 short stories, one novella and a novel. Pre-requisite – Grade 12 English or equivalent **ENGLISH 101 – Poetry & Drama (621-009) 3 credits Instructor – Dr. Burke Cullen One of the central themes of the first six weeks of the course is the relationship between poetry and music. Almost all poems chosen for study have, either in their motifs or their prosody, close ties to music. Most poems on the course list are from the twentieth century, and many are among the best known poems in the English language canon. Students study both formal poetic practices and conventions of free verse. Three plays are studied in the second half of the course. Students examine the principles of both tragedy and comedy and are asked to consider staging techniques, characterization, and social issues. The plays range from the beginning of the seventeenth century to the late twentieth century. Social and historical contexts are central. Pre-requisite – English 100 (621-004) or equivalent Note: This course is offered for B. Music degree students. Students enrolled in this course must pay an additional tuition fee of $600.00. ***BAROQUE ART IN ITALY AND SPAIN (621-005) 1.5 credits Instructor – Dr. Francis Broun The classical style of Annibale Carracci will be contrasted with the more romantic works of Caravaggio. Works of their pupils and followers such as Artemisia Gentilleschi, the Neapolitan sculptor Bernini, and the French masters Poussin and Claude Lorrain, will be surveyed. The Golden Age of Spanish art will be represented by Zurbaran, Murillo and, most notably Velazquez. Pre-requisite – None ***FLEMISH AND DUTCH BAROQUE PAINTING (621-006) 1.5 credits Instructor – Dr. Francis Broun Works of the Flemish painters Rubens and van Dyck which catered to the demand for Grand Manner renditions of religious and mythological themes and for portraiture will be studied, as will works of the Dutch masters Hals, Vermeer and Rembrandt who specialized in portraits, landscapes and genre. Pre-requisite – None *.***FRENCH, ROCOCO & ENGLISH ART OF THE 18TH & 19TH CENTURIES (621-007) 1.5 credits Instructor – Dr. Francis Broun The splendid art and architecture of Versailles which flattered the ego of Louis XIV will be contrasted to the more elegant and intimate works of Rococo artists such as Watteau, Boucher, Chardin and Fragonard. English society as satirized by Hogarth, as glorified by Reynolds and as romanticized by Gainsborough will be examined. Blake’s world of his own creation, Constable’s familiar one and the grand and impassioned images of Turner will be explored. Also considered will be the Pre-Raphaelites such as Millais, Hunt and Rossetti and much-reviled Academics like Alma-Tadema and Leighton. Pre-requisite – None (although Baroque art courses are recommended)

22

***FRENCH ART IN THE 19TH CENTURY (621-008) 1.5 credits Instructor – Dr. Francis Broun These four broad categories of painting in 19th Century France will be considered: Neoclassicism as represented by David and Ingres; Romanticism by Gericault and Delacroix; Realism by Courbet and Daumier; and Impressionism with its remarkable variety of styles and interests by Manet, Monet, Renoir, Degas, Cezanne, van Gogh and others. Pre-requisite – None (although some or all of the other art history courses are recommended) ***Note— Students enrolling in their third or fourth Art History course must pay a tuition fee of $400.00 for each additional Art History course.

23

PERFORMANCE DIPLOMA PROGRAM Voice The Royal Conservatory of Music has an Articulation Agreement with Thompson Rivers University - Open Learning. Students who successfully complete the PDP program have the option to apply to TRU-OL for their Bachelor of Music program.


Credits for Performance Diploma Lower Level Upper Level

YEAR 1 2 3 4

APPLIED STUDIES



Master Class (626-002) 2 2 2








Teaching Methodology - Fall/Spring (633-001/633-005) 2

PERFORMANCE STUDIES - VOICE

Choir (600-001) 3

Vocal Coaching (657-001) 2 2 2

Vocal Stagecraft (658-001) 2 2

English Diction 1 & 2 (608-001 & 608-005) 4

Italian Diction/Language for Singers (608-008/608-002)) 4

French Diction/Language for Singers (608-007/608-003) 4

German Diction/Language for Singers (608-004/608-006) 4

Opera - Scene Study (817-001) 2 2

Art Song/Operatic Repertoire (597-001, 597-002, 597-003, 597-004) 3 3

Sight Singing/Ear Training for Singers (644-004) 2

Historical Performance Practices (619-003) 2

Choral Conducting (607-002) 2

24


MUSIC MATERIALS










Music Literature 1 - ca. 1600 to 1890 (625-025) 3

Music Literature 2 - 1890 to present (625-026) 3



ACADEMIC STUDIES



Credits Per year for Performance Diploma 30 37 31 28

Credits Required for PDP - Vocal Graduation: 126

Bachelor of Music


English 101 (621-009) 3


Science/Math 3

Social Science 6

Total General Education Requirements: 15 Credits Required for TRU-OL Bachelor of Music degree option (Vocal): 141

Special Topics

25

PERFORMANCE DIPLOMA PROGRAM Voice APPLIED STUDIES APPLIED MUSIC 3 credits Each student receives 1.5 hours of private instruction per week, the equivalent of 39 hours per academic year. Those students whose major instrument is not piano must successfully complete an RCME Grade 6 Piano examination or equivalent prior to graduation (www.rcmexaminations.org). Students may use up to 30 minutes of their private lesson time in the study of a secondary instru-ment, or towards the preparation of their Grade 6 Piano requirement First year students perform a juried evaluation in the Spring. Jury marks represent 40% of the first year applied music mark. Students are required to practice a minimum of 2 hours per day.

RECITAL (639-003– Yr 1 elective) (639-004—Yr 2) (639-005—Yr 3) (639-006—Yr 4) 2 credits - 2nd year, 3 credits - 3rd year, 4 credits - 4th year Students in first year are encouraged, but not required, to perform a non-credit recital and the decision to perform a recital in first year would be made in consultation with the private teacher. Students must perform a major public recital in the second, third and fourth years of the program. MASTER CLASS (626-002) 2 credits Co-ordinator – Roxolana Roslak Frequent master classes are given by international artists and by our own faculty. Please note that student performance opportunities are at the discre-tion of the visiting artist, the Master Class Coordinator, the private teacher, and the Dean. The Master Class Schedule will be available at the beginning of the school year. Updates and changes will be posted regularly outside GGS Administrative Offices. Note - Master Class is compulsory in Years 2, 3 and 4.

PERFORMANCE STUDIES - Common TECHNOLOGY FOR PERFORMERS (646-001 or 646-003) 2 credits Instructor – Michael White Students will acquire proficiency in those computer and new media tools use-ful for a career as a professional musician. Topics covered will include: elec-tronic press kits, internet, music sequencing, hard disc recording and editing, CD mastering and creation. Students will be expected to apply lessons learned in the course toward the completion of assignments in lab work be-tween sessions. Pre-requisite – Materials 1 – Theory (627-002)

TECHNOLOGY FOR PERFORMERS – DIRECTED STUDY (646-004) 1 credit Advisor – Michael White Using the tools learned in Technology for Performers, students will select their own course of study, i.e. creating Web pages, tapes, CDs or electronic media packages. Pre-requisite – Technology for Performers (646-001 or 646-003)

COMMUNICATIONS – MUSIC & COMMUNITY (602-002) 3 credits Instructor – Andrew Kwan Students will explore the meaning of art, its relation to each individual, the artist, audience and concert and then apply performance/psychological as-pects in a practicum with the Toronto community. Participants will learn new ways to communicate their art to the public. The goal of this class is to reach out to the community and perform concerts in schools, concert halls, as well as in hospitals, prisons and other less-fortunate settings. Pre-requisite – Completed 2nd year

CAREER MANAGEMENT (598-001) 1 credit Instructor – Andrew Kwan Designed specifically to prepare the music student for the complex demands of a performing career, this course facilitates the learning of business, writing, marketing and negotiation skills. Course relies on the expertise of profession-als in the field. Pre-requisite – Completed 2nd year

PERFORMING ARTS CRITICISM (621-003) 3 credits Instructor – William Littler Students attend performances and submit reports and reviews for class dis-cussion no later than 48 hours after the event. Critical models will be exam-ined. Pre-requisite – Completed 2nd year

PERFORMANCE AWARENESS (636-002) 2 credits Co-ordinator - David Visentin Beginning with a discussion of a particular stress-reducing technique, each class proceeds with breathing, stretching and meditation exercises. Pre-requisite – Completed 1st year TEACHING METHODOLOGY (633-001) 1 credit Instructor – Andrew Markow, Joan Barrett Topics will include cognitive psychology, unlocking each student's potential through Neuro-linguisitic programming, developmental issues, and methods to inspire and motivate students. Pre-requisite – Completed 2nd year TEACHING METHODOLOGY – Voice (633-005) 1 credit Instructor – Joel Katz A continuation of Teaching Methodology (Fall). In the 2nd semester, RCM faculty and guest artists will act as Co-ordinators to deliver further topics such as Elements of Style, Sound Production and Concert/Audition/Festival prepa-ration. Pre-requisite – Teaching Methodology (633-001) PERFORMANCE STUDIES – Voice CHOIR (600-001) 3 credits Instructor – Dr. Margot Rejskind Preparation and performance of a diverse choral repertoire. Pre-requisite – None

VOCAL COACHING (657-001) 2 credits A private instruction forum for specific problems that the student may encoun-ter with any repertoire, focusing on development of expression, emotional content and presentation in singing. First-year students may elect to receive 30 minutes of coaching per week. Second-year students receive 45 minutes weekly; third and fourth year students receive 60 minutes weekly. Pre-requisite – None

VOCAL STAGECRAFT (658-001) 2 credits Instructors – Tom Diamond, To Be Announced Group work in practical exercises dealing with body awareness, concentration, simple co-ordination between physical and mental skills and improvisatory techniques. In-class performance incorporates these techniques. Pre-requisite – None

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ENGLISH DICTION 1 (608-001) 2 credits Instructor – Jean MacPhail The introduction of the International Phonetic Alphabet as a tool for learning the basics of pronunciation. English diction and repertoire are the focus. Pre-requisite – None ENGLISH DICTION 2 (608-005) 2 credits Instructor – Jean MacPhail Continued study and application of English language with grammar and writ-ten work. Pre-requisite – English Diction 1 (608-001) ITALIAN DICTION (608-008) 2 credits Instructor – Marina Carletti Italian diction will be studied with written and sung examples from the song and operatic repertoires. Pre-requisite – None

LANGUAGE FOR SINGERS – ITALIAN (608-002) 2 credits Instructor – Marina Carletti Continued study and application of Italian language with grammar and written work. Pre-requisite – Italian Diction (608-008) FRENCH DICTION (608-007) 2 credits Instructor – Jason Nedecky French diction is studied with written and sung examples from the song and operatic repertoires. Pre-requisite – Completed 1st year LANGUAGE FOR SINGERS – FRENCH (608-003) 2 credits Instructor – Jason Nedecky Continued study and application of French language with grammar and written work. Pre-requisite – French Diction (608-007) GERMAN DICTION (608-004) 2 credits Instructor – Eraine Schwing-Braun German diction will be studied with written and sung examples from the song and operatic repertoires. Pre-requisite – Completed 1st year LANGUAGE FOR SINGERS – GERMAN (608-006) 2 credits Instructor – Eraine Schwing-Braun Continued study and application of German language with grammar and writ-ten work. Pre-requisite – German Diction (608-004) OPERA – SCENE STUDY (817-001) 2 credits This ensemble provides a special opportunity for singers to study and perform opera excerpts in production. Participants will broaden their experience, de-velop their vocal technique further through encountering appropriate vocal material, and learn new repertoire. Their ability to handle professional level stage work should be significantly strengthened. Pre-requisite – Vocal Stagecraft (658-001) or by permission of the in-structor

ART SONG/OPERATIC REPERTOIRE – 20th Century Art Song (597-001) 1.5 credit Instructors – Brahm Goldhamer, Roxolana Roslak Offers singers and pianists an intensive study of the modern Art Song Reper-toire, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – Completed 2nd year ART SONG/OPERATIC REPERTOIRE – Opera (597-002) 1.5 credit Instructors – Brahm Goldhamer, Joel Katz Offers singers and pianists an intensive study of the 19th and 20th century music drama, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – Completed 2nd year ART SONG/OPERATIC REPERTOIRE – French Art Song (597-003) 1.5 credit Instructors – Brahm Goldhamer, To Be Announced Offers singers and pianists an intensive study of the French Art Song Repertoire, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – Completed 2nd year ART SONG/OPERATIC REPERTOIRE – Lied Study (597-004) 1.5 credit Instructors – Brahm Goldhamer, Monica Whicher Offers singers and pianists an intensive study of the 19th-Century Lied, allow-ing for emphasis on the relationship between poetic text and music. Pre-requisite – Completed 2nd year SIGHT SINGING/EAR TRAINING FOR SINGERS (644-004) 2 credits Instructor – Markus Howard Sight singing, ear training and dictation exercises pertaining particularly to the challenges found in recent concert and operatic music. Pre-requisite – Materials 2 – Aural Skills (627-014)

HISTORICAL PERFORMANCE PRACTICES – Voice (619-003) 2 credits Instructor – Ann Monoyios A study of style and techniques of vocal music composed between ca. 1600-1750; aspects covered include Italian monody; English, German and French repertory, ornamentation and recitatives. Pre-requisite – Completed 2nd year CHORAL CONDUCTING (607-002) 2 credits Instructor – Dr. Margot Rejskind This course is designed to introduce students to the basic techniques of choral conducting. Topics will include gesture and communication, beat patterns and other basic techniques, metrical problems, differences between choral and instrument idioms, score preparation/analysis, accompanists and accompani-ment, effective rehearsal techniques and developing good diction and tone. Pre-requisite – None MUSIC MATERIALS MATERIALS 1 – THEORY (627-002) 3 credits Instructor – Larysa Kuzmenko A study of basic tonal harmony, instrumentation, composition, and counter-point with additional emphasis on simple structural forms. Students compose for class performance inventions, songs and instrumental pieces. Works are analyzed from the Baroque period and from repertoire performed by the RCO. Dictation exercises include intervals, triads, melodies, harmonic progressions and rhythms. Co-requisites – Materials 1 – Keyboard Harmony (623-007) and Aural Skills (627-010)

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MATERIALS 2 – THEORY (627-001) 3 credits Instructor – Larysa Kuzmenko A study of the classical principles of form and composition with particular attention devoted to variations, rondo, sonata allegro, concerto, and symphony, focusing on their development during the 18th and 19th centuries. Works performed by the RCO will be incorporated into the curriculum. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007) Co-requisites – Materials 2 – Keyboard Harmony (623-005), Aural Skills (627-014)

MATERIALS 3 – THEORY (627-008) 4 credits Instructor – Larysa Kuzmenko A study of chromaticism in tonal and post-tonal music with special emphasis on 19th and early 20th century forms and compositional techniques. Instrumental and vocal works are discussed prior to assignments in analysis and composition. Aspects of orchestration will include scoring short piano excerpts, and devising piano reductions. Dictation exercises include chro-matic melodies, typical harmonic progressions and modulations. Pre-requisites – Materials 2 – Theory (627-001), Keyboard Harmony (623-005), Aural Skills (627-014) MATERIALS 1 – KEYBOARD HARMONY (623-007) 1.5 credits Instructor – Larysa Kuzmenko Music reading and related aural skills are developed through the practice and application of sight-reading techniques and ear-training procedures. This course includes singing and/or identification of scales, intervals and chords, aural analysis of simple harmonic progressions, sight singing of simple rhythms and melodies. Co-requisites – Materials 1 – Theory (627-002), Aural Skills (627-010) MATERIALS 2 – KEYBOARD HARMONY (623-005) 1.5 credits Instructor – Larysa Kuzmenko Harmonization of figured bass, sight reading in score form of 3 to 5 parts using C clefs and some transpositions, secondary dominants, modulation using pivot chords. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-requisites – Materials 2 –Theory (627-001), Aural Skills (627-014) MATERIALS 1 – AURAL SKILLS (627-010) 1.5 credits Instructor – Larysa Kuzmenko Sight-singing, ear training and dictation exercises pertaining to rhythm, intervals and those scales, melodies, cadences and progressions employed in major-minor tonality. Co-Requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007) MATERIALS 2 – AURAL SKILLS (627-014) 1.5 credits Instructor – Larysa Kuzmenko Sight-singing, ear training and dictation exercises pertaining to rhythm and polyrhythms, intervals and those scales, chromatic melodies and progressions characteristic of music from the 19th century to the present. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Harmony (623-007), Aural Skills (627-010) Co-Requisites – Materials 2 – Theory (627-001), Keyboard Harmony (623-005)

INTRODUCTION TO MUSIC HISTORY (618-008) 4 credits Instructor – Dr. Janet Lopinski An introduction to a diverse range of repertoire and the cultural, technological and stylistic contexts from which it emerged. Pre-requisite – None

MUSIC HISTORY – BIBLIOGRAPHY (618-005) 1 credit Instructor – Dr. Janet Lopinski Practical work in library and internet research methods and bibliography. Pre-requisite – None Co-requisite – Introduction to Music History (618-008)

MUSIC LITERATURE 1 (ca.1600 to 1890) – Voice (625-025) 3 credits Instructor—Joel Katz, Chris Foley A study of styles and works for the student’s principal area of applied from ca. 1600-1890. Pre-requisite – Introduction to Music History (618-008)

MUSIC LITERATURE 2 (1890 to present) – Voice (625-026) 3 credits Instructor – Joel Katz A study of styles and works for the student’s principal area of applied study from ca. 1890 to the present. Pre-requisite – Introduction to Music History (618-008)

MUSIC HISTORY REVIEW (618-009) 4 credits Instructor – Dr. Janet Lopinski A course for students in their graduating year which places Western concert music in historical perspective. Pre-requisites – Introduction to Music History (618-008); Music Literature 1 (625-025), Music Literature 2 (625-026) CANADIAN REPERTOIRE (627-019) 3 credits Instructor – Dean Burry An in depth study of Canadian compositions in a variety of genres and styles; links to developments in Canadian art and literature will be noted. Each student will investigate extensively at least two works; this research will culmi-nate in substantial papers and when feasible, performances---one of these works should be a composition the student believes has been unjustly over-looked and for which s/he can be a persuasive advocate. Pre-requisite – Materials 2 – Theory (627-001) SPECIAL TOPICS Instructor – To Be Announced On occasion, courses other than those included in this Academic Calendar will be offered. ACADEMIC STUDIES ENGLISH 100 – Literature and Composition I (621-004) 3 credits Instructor – Dr. Burke Cullen This basic literature and composition course is split equally between a thor-ough review of the mechanics of writing and an introduction to reading and writing about works of literature. Each course unit includes a selection of composition (grammar, punctuation, sentence structure and diction) and a section on literature. During the year, students will read approximately 20 short stories, one novella and a novel. Pre-requisite – Grade 12 English or equivalent

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**ENGLISH 101 – Poetry & Drama (621-009) 3 credits Instructor – Dr. Burke Cullen One of the central themes of the first six weeks of the course is the relation-ship between poetry and music. Almost all poems chosen for study have, either in their motifs or their prosody, close ties to music. Most poems on the course list are from the twentieth century, and many are among the best known poems in the English language canon. Students study both formal poetic practices and conventions of free verse. Three plays are studied in the second half of the course. Students examine the principles of both tragedy and comedy and are asked to consider staging techniques, characterization, and social issues. The plays range from the beginning of the seventeenth century to the late twentieth century. Social and historical contexts are central. Pre-requisite – English 100 (621-004) or equivalent **Note—This course is offered for B. Music degree students. Students en-rolled in this course must pay an additional tuition fee of $600.00. ***BAROQUE ART IN ITALY AND SPAIN (621-005) 1.5 credits Instructor - Dr. Francis Broun The classical style of Annibale Carracci will be contrasted with the more ro-mantic works of Caravaggio. Works of their pupils and followers such as Artemisia Gentilleschi, the Neapolitan sculptor Bernini, and the French mas-ters Poussin and Claude Lorrain, will be surveyed. The Golden Age of Span-ish art will be represented by Zurbaran, Murillo and, most notably, Velazquez. Pre-requisite – None ***FLEMISH AND DUTCH BAROQUE PAINTING (621-006) 1.5 credits Instructor – Dr. Francis Broun Works of the Flemish painters Rubens and van Dyck which catered to the demand for Grand Manner renditions of religious and mythological themes and for portraiture will be studied, as will works of the Dutch masters Hals, Vermeer and Rembrandt who specialized in portraits, landscapes and genre. Pre-requisite – None .***FRENCH, ROCOCO & ENGLISH ART OF THE 18TH & 19TH CENTURIES (621-007) 1.5 credits Instructor – Dr. Francis Broun The splendid art and architecture of Versailles which flattered the ego of Louis XIV will be contrasted to the more elegant and intimate works of Rococo artists such as Watteau, Boucher, Chardin and Fragonard. English society as satirized by Hogarth, as glorified by Reynolds and as romanticized by Gainsborough will be examined. Blake’s world of his own creation, Constable’s familiar one and the grand and impassioned images of Turner will be explored. Also considered will be the Pre-Raphaelites such as Millais, Hunt and Rossetti and much-reviled Academics like Alma-Tadema and Leighton. Pre-requisite – None (although Baroque art courses are recommended) ***FRENCH ART IN THE 19TH CENTURY (621-008) 1.5 credits Instructor – Dr. Francis Broun These four broad categories of painting in 19th Century France will be considered: Neoclassicism as represented by David and Ingres; Romanticism by Gericault and Delacroix; Realism by Courbet and Daumier; and Impressionism with its remarkable variety of styles and interests by Manet, Monet, Renoir, Degas, Cezanne, van Gogh and others. Pre-requisite – None (although some or all of the other art history courses are recommended)

***Note— Students enrolling in their third or fourth Art History course must pay a tuition fee of $400.00 for each additional Art History course.

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ARTIST DIPLOMA PROGRAMS • Disciplines: Piano, Voice, All Orchestral Instruments • Program Length: 2 years • Admissions requirements: Bachelor of Music degree or equivalent , with minimum GPA 2.67 (B- or 70%), English proficiency Competitive entrance audition The Glenn Gould School’s Artist Diploma Program is for exceptionally gifted musicians who wish to continue formal study to perfect their technique. The following is a brief outline of the discipline specific Artist Diploma programs. Artist Diploma Program (Piano) This program is geared towards students who exhibit outstanding promise for a solo piano career. The program provides instruction by Master teacher/artists and in-depth playing experience for the development of performance potential. A special commitment to the student’s artistic growth ensures thorough preparation for the performance opportunities available at The Glenn Gould School, international competitions and auditions. Enrolment is strictly limited. Artist Diploma Program (Orchestral) This innovative program provides talented instrumentalists with the skills and tools necessary to become successful orchestral musicians. Students are nurtured by renowned orchestra leaders and international conductors to thrive in a professional orchestral atmosphere, while learning to broaden their marketability. Students in this program also have numerous master class, chamber music and solo performance opportunities. Artist Diploma Program (Voice) This program provides superior vocal training for singers who show promise for successful performance careers. The program offers intensive performance training, career development and networking opportunities with professional singers who are also highly skilled teachers.

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Credits for Artist Diploma Program - Piano

YEAR 1 2

APPLIED STUDIES

Applied Music 6 6

Recital (641-004—Yr 1/1) (641-005—Yr 1/2) ; (641-006—Yr 2/1) (641-007—Yr 2/2) 6 6

Master Class (516-001) 3 3

PERFORMANCE STUDIES

Ensemble - Piano Duos (638-001) or New Music Ensemble (511-001) or Historical Performance Practices - Keyboard (620-003)

3

Chamber Music - Chamber Music (667-001) or Sonata Repertoire (711-002) or Art Song/Operatic Repertoire (597-001, 597-002, 597-003, 597-004)

4.5

OTHER STUDIES

Graduate Communications Seminar (603-002) 3

ELECTIVES

Performance Awareness (800-001) (2)

Performing Arts Criticism (621-003) (3)

Career Management (671-002) (1)

Total Credits Per Year 22.5 18

Credit Required for ADS 40.5

ARTIST DIPLOMA PROGRAM Piano Established in 2006 by RCM Alumni Ian Ihnatowycz and Dr. Marta Witer, The Ian Ihnatowycz Piano Scholars Program supports piano students at the ADP level who show exceptional potential. Each academic year, a maximum of two ADP students are eligible to receive substantial financial support from The Ian Ihnatowycz Piano Scholars Program. This significant financial support will be applied directly to the cost of training. The worthy recipient(s) awarded the scholarship will be notified in advance of the upcoming academic year. The Ian Ihnatowycz Piano Scholars Program makes a significant contribution to the high standards of the academic and performance-based learning opportunities that distinguish The Glenn Gould School.

( ) Credits indicated in parentheses are elective courses


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ARTIST DIPLOMA PROGRAM Piano

APPLIED STUDIES APPLIED MUSIC 6 credits Each student receives 1.5 hours of private instruction per week, the equivalent of 39 hours each academic year. Students are required to practice a minimum of 6 hours per day. RECITAL (641-004—Yr1/1) (641-005 Yr 1/2); (641-006 Yr 2/1) (641-007 Yr 2/2) 6 credits Artist Diploma pianists must perform two major public recitals in each year of the program for a total of 4 recitals. MASTER CLASS – PIANO (516-001) 3 credits Co-ordinator – To Be Announced Weekly master classes are given by international artists and GGS faculty. Please note: Student performance opportunities are at the discretion of the visiting artist, the Master Class Coordinator and the Dean. The Master Class Schedule will be available at the beginning of the school year. Updates and changes will be posted regularly outside the GGS Administrative Offices.

PERFORMANCE STUDIES PIANO DUOS (638-001) 3 credits Instructor – Leslie Kinton This performance class is devoted to the study of the repertoire for piano duos and duets. Pre-requisite – None

NEW MUSIC ENSEMBLE (511-001) 3 credits Instructor – Brian Current This course examines representative twentieth-century ensemble literature, including Canadian works. Students are offered opportuni-ties to discuss works with the composers wherever possible. Resources such as the Canadian Music Centre will be explored. Pre-requisite – Placement in this course is by audition or assignment only. Auditions will take place in September during the Ensemble Placement Auditions.

HISTORICAL PERFORMANCE PRACTICES – Keyboard (620-003) 3 credits Instructor – Charlotte Nediger A study of tempo, rhythm, phrasing, articulation, ornamentation and dynamics in keyboard music of J.S. Bach, Domenico Scarlatti and C.P.E. Bach. Pre-requisite – None

*CHAMBER MUSIC (667-001) 4.5 credits Co-ordinator – Paul Widner Students prepare and perform chamber music. Regular chamber music coaching is provided. The weekly performance class is taught by GGS Faculty and guest artists. Pre-requisite – None *SONATA REPERTOIRE (711-002) 4.5 credits Instructor – Peter Longworth Students prepare and perform standard sonata repertoire for piano and one instrument. Pre-requisite – None ART SONG/OPERATIC REPERTOIRE – 20th Century Art Song (597-001) 2.25 credits Instructors – Brahm Goldhamer, Roxolana Roslak Offers singers and pianists an intensive study of the modern Art Song Repertoire, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – None ART SONG/OPERATIC REPERTOIRE – Opera (597-002) 2.25 credits Instructors – Brahm Goldhamer, Joel Katz Offers singers and pianists an intensive study of the 19th and 20th-century music drama, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – None

ART SONG/OPERATIC REPERTOIRE – French Art Song (597-003) 2.25 credits Instructors – Brahm Goldhamer, To Be Announced Offers singers and pianists an intensive study of the French Art Song Repertoire, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – None ART SONG/OPERATIC REPERTOIRE – Lied Study (597-004) 2.25 credits Instructors – Brahm Goldhamer, Monica Whicher Offers singers and pianists an intensive study of the 19th-Century Lied, allowing for emphasis on the relationship between poetic text and music. Pre-requisite – None Note- GGS Administration will make assignments in ensemble classes. Best efforts will be made to accommodate students’ wishes.

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OTHER STUDIES GRADUATE COMMUNICATIONS SEMINAR (603-002) 3 credits Instructor – Andrew Kwan This course features a series of wide ranging lectures, workshops and seminars that will engage students in the process of embracing their art more deeply, communicating effectively in the community, and develop-ing the skills needed to manage their careers. Students will explore the meaning of art and its role in their lives, as well as in the lives of their audiences. They will be encouraged to develop their comfort level in communicating in different performance settings. Guests will include dancers, actors, and commu-nications specialists as well as Musicians Association representatives, Arts Council representatives, performing arts presenters and health care professionals, who will offer sessions in writing résumés, creating press kits, marketing and musicians’ health. Students will be required to develop and articulate their own personal Mission Statement, maintain a journal, develop the tools for assessment of the dynamics of performance, speak about their repertoire on their final recitals, and par-ticipate in various performance initiatives. Pre-requisites – None ELECTIVES PERFORMANCE AWARENESS (800-001) (2 credits) Co-ordinator - David Visentin Beginning with a discussion of a particular stress-reducing technique, each class proceeds with breathing, stretching and meditation exercises. Pre-requisite – None PERFORMING ARTS CRITICISM (621-003) (3 credits) Instructor – William Littler Students attend performances and submit reports and reviews for class discussion. Critical models will be examined. Pre-requisite – None CAREER MANAGEMENT (671-002) (1 credit) Instructor – Andrew Kwan Students learn how to develop their careers through an introduction to the music industry, business writing, marketing and negotiation skills. Topics include Promotional Materials; Agents, Managers and Presenters; Con-certs and Touring; Developing Ties with your Community; and The Role of the Artist in the 21st Century. Pre-requisite – None

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Credits for Artist Diploma Program - Orchestral Instruments

YEAR 1 2

APPLIED STUDIES

Applied Music 6 6

Recital (641-002— Yr 1) (641-003— Yr 2) 3 3

Master Class - Strings (516-008), Woodwinds (516-009) Brass (516-007), Harp (516-006), Percussion (516-005)

3 3

PERFORMANCE STUDIES

Royal Conservatory Orchestra (630-001) 6 6

Orchestral Literature Survey (517-001) 3 (3)

Orchestral Repertoire - Strings (515-008), Winds (515-008) 3 3

Chamber Music - Strings (667-001), Woodwinds, (667-002), Brass (667-004) 4.5 4.5

Historical Performance Practices - Strings (620-004), Winds (620-002) 3

New Music Ensemble (511-001) 3

OTHER STUDIES


ELECTIVES


Performing Arts Criticism (621-003) (3)

Sonata Repertoire (711-002) (3)


Total Credits Per Year 31.5 31.5 Credits Required for ADO 63

ARTIST DIPLOMA PROGRAM Orchestral Instruments



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ARTIST DIPLOMA PROGRAM Orchestral Instruments

APPLIED STUDIES APPLIED MUSIC 6 credits Students will receive 1.5 hours of private instruction each week, the equivalent of 39 hours per academic year. Up to half of this lesson time should be devoted to the preparation of orchestral repertoire. Students are required to practice a minimum of 2-4 hours per day.

RECITAL (641-002—Yr 1) (641-003—Yr 2) 3 credits Artist Diploma orchestral students must perform a recital in the first year and have a choice of performing a recital or participating in a comprehensive mock audition in the second year. MASTER CLASS – Strings (516-008), Woodwinds (516-009), Brass (516-007), Harp (516-006), Percussion (516-005) 3 credits Co-ordinators– Paul Widner (Strings), Dr. Kathleen Rudolph (Winds), Andrew McCandless (Brass), Judy Loman (Harp), John Rudolph, (Percussion) Master classes are given by international artists and by GGS faculty. Please note that student performance opportunities are at the discretion of the visiting artist, the Master Class Coordinator and the Dean. The Master Class schedule will be available at the beginning of the school year. Updates and changes will be posted regularly outside GGS Administrative Offices. PERFORMANCE STUDIES ROYAL CONSERVATORY ORCHESTRA (630-001) 6 credits Co-ordinator – David Visentin Working with guest conductors of international calibre, the Orchestra will pre-pare a season of 4 concerts programmed with standard orchestral repertoire. Pre-requisite – None ORCHESTRAL LITERATURE SURVEY (517-001) 3 credits Instructor – Peter Tiefenbach This course covers the standard orchestral literature from Classical through the 20th century, drawing in part from works being performed by the Royal Conservatory Orchestra and the Toronto Symphony Orchestra. Listening, score-study and historical analysis are major components of this course. Stu-dents will become familiar with the setting for their orchestral excerpts both musically and historically. Pre-requisite – None; this required course may be taken a second time as an elective ORCHESTRAL REPERTOIRE (515-008) 3 credits Instructors – Various This instrument-specific course concentrates on the standard orchestral excerpts required for international professional auditions. Students will pre-pare audition lists, receive regular coaching and perform two mock auditions per year. Mock auditions are adjudicated by experienced instrumental musicians and/or conductors. Pre-requisite – None

*CHAMBER MUSIC – Strings (667-001), Woodwinds (667-002), Brass (667-004) 4.5 credits Co-ordinator – Paul Widner (Strings), Dr. Kathleen Rudolph (Woodwinds), Gordon Wolfe (Brass) Students prepare and perform chamber music. Regular chamber music coaching is provided. The weekly performance class is taught by GGS Fac-ulty and guest artists. Pre-requisite – None HISTORICAL PERFORMANCE PRACTICES – Strings (620-004) 3 credits Instructor – Jeanne Lamon A study of styles and techniques of performance practice of music composed between ca. 1590-1740 using historical treatises and Baroque techniques specific to the student’s instrument. Pre-requisite – None

HISTORICAL PERFORMANCE PRACTICES – Winds (620-002) 3 credits Instructor – John Abberger A study of styles and techniques of performance practice of music composed between ca. 1590-1740 using historical treatises and Baroque techniques specific to the student’s instrument. Pre-requisite – None NEW MUSIC ENSEMBLE (511-001) 3 credits Instructor – Brian Current This course examines representative twentieth-century ensemble literature, including Canadian works. Students are offered opportunities to discuss works with the composers wherever possible. Resources such as the Cana-dian Music Centre will be explored. Pre-requisite – Placement in this course is by audition only. Auditions will take place in September during the Ensemble Placement Auditions *Note- GGS Administration will make assignments in ensemble classes. Best efforts will be made to accommodate students’ wishes.

OTHER STUDIES GRADUATE COMMUNICATIONS SEMINAR (603-002) 3 credits Instructor – Andrew Kwan This course features a series of wide ranging lectures, workshops and semi-nars that will engage students in the process of embracing their art more deeply, communicating effectively in the community, and developing the skills needed to manage their careers. Students will explore the meaning of art and its role in their lives, as well as in the lives of their audiences. They will be encouraged to develop their comfort level in communicating in different per-formance settings. Guests will include dancers, actors, and communications specialists as well as Musicians Association representatives, Arts Council representatives, performing arts presenters and health care professionals, who will offer sessions in writing résumés, creating press kits, marketing, and musicians’ health. Students will be required to develop and articulate their own personal Mission Statement, maintain a journal, develop the tools for assessment of the dynamics of performance, speak about their repertoire on their final recitals, and participate in various performance initiatives. Pre-requisites – None

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ELECTIVES PERFORMANCE AWARENESS (800-001) (2 credits) Co-ordinator - David Visentin Beginning with a discussion of a particular stress-reducing technique, each class proceeds with breathing, stretching and meditation exercises. For suc-cessful integration of exercises and performance, students are required to bring their instruments to all classes. Pre-requisite – None PERFORMING ARTS CRITICISM (621-003) (3 credits) Instructor – William Littler Students attend performances and submit reports and reviews for class dis-cussion no later than 48 hours after the event. Critical models will be exam-ined. Pre-requisite – None *SONATA REPERTOIRE (711-002) (2 credits) Instructor – Peter Longworth Students prepare and perform standard sonata repertoire for piano and one instrument. Pre-requisite – None CAREER MANAGEMENT (671-002) 1 credit Instructor – Andrew Kwan Students learn how to develop their careers through an introduction to the music industry, business writing, marketing and negotiation skills. Topics include Promotional Materials; Agents, Managers and Presenters; Concerts and Touring; Developing Ties with your Community; and The Role of the Artist in the 21st Century.

Pre-requisite – None

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ARTIST DIPLOMA PROGRAM Voice

REQUIRED COURSES AND RECOMMENDED SEQUENCE Credits for Artist Diploma - Voice Program

YEAR 1 2

APPLIED STUDIES

Applied Music 6 6

Recital (641-008—Yr 1) (641-009—Yr 2 1/2, 641-019 Yr 2 2/2) 3 6

Master Class (516-004) 3 3

Vocal Coaching (657-001) 3 3

PERFORMANCE STUDIES

Choose 2 of: Concert Repertoire (703-006), Opera Repertoire (703-001), Oratorio Repertoire (703-005) The remaining 3rd course may be taken as an elective.

3 3

Opera - Opera Workshop (629-001) 3

20th Century Vocal Repertoire (703-002) 3

Acting for Singers 1 (703-011) 3

Acting for Singers 2 (703-010) 3

French for Singers (703-014) 1.5

Italian for Singers (703-013) 1.5

German for Singers (703-012) 1.5

OTHER STUDIES


ELECTIVES

Spanish for Singers (703-009) (1.5)

Russian for Singers (703-008) (1.5)


One of remaining: Concert Repertoire (703-006) or Opera Repertoire (703-001) or Oratorio Repertoire (703-005)^

(3)

Historical Performance Practices - Voice (703-007) (3)


Total Credits Per Year 27 33 Credits Required for ADV 60


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ARTIST DIPLOMA PROGRAM Voice APPLIED STUDIES APPLIED MUSIC 6 credits Students will receive 1.5 hours of private instruction each week, the equivalent of 39 hours per academic year. Students are expected to practice a minimum of 2 hours per day. RECITAL (641-008—Yr 1) (641-009—Yr 2 1/2, 641-019 Yr 2 2/2) 3 credits each recital Students will be responsible for 3 recitals: one recital in the first year and two recitals in the second year. One of the second-year recitals may be replaced by a major professional operatic role, and/or given at an off-site location. MASTER CLASS (516-004) 3 credits Coordinator – Roxolana Roslak Frequent master classes are given by international artists and by our own faculty. Please note: Student performance opportunities are at the discretion of the visiting artist, the Master Class Coordinator, the private teacher, and the Dean. The Master Class Schedule will be available at the beginning of the school year. Updates and changes will be posted regularly outside of the GGS Administrative Offices. VOCAL COACHING (657-001) 3 credits Instructors – Various A private instruction forum for specific problems that the student may encounter with any repertoire. Voice students will receive 60 minutes of private instruction with a vocal coach to develop expression, emotional content and presentation in singing. Pre-requisite: None PERFORMANCE STUDIES CONCERT REPERTOIRE (703-006) 3 credits Instructor – Monica Whicher This course focuses on vocal repertoire, song cycles and music with orchestra. Pre-requisite – None OPERA REPERTOIRE (703-001) 3 credits Instructor – Brahm Goldhamer This course serves as intense preparation for major operatic roles from traditional repertoire and the 20th Century. Pre-requisite – None

ORATORIO REPERTOIRE (703-005) 3 credits Instructor – Jurgen Petrenko This course will focus on oratorio repertoire from the Baroque to the present including that of Bach, Handel, Mozart, Brahms, Verdi, Elgar and Britten. Pre-requisite – None NOTE: ADP Voice Students are required to select two (2) of Concert Rep-ertoire (703-006), Opera Repertoire (703-001) and/or Oratorio Rep-ertoire (703-005). The remaining third course may also be taken as an elective. OPERA - OPERA WORKSHOP (629-001) 2 credits Instructors – Brahm Goldhamer, To Be Announced This ensemble provides the opportunity for singers to study and perform an opera in production. Pre-requisite – None 20th CENTURY VOCAL REPERTOIRE (703-002) 3 credits Instructor – Roxolana Roslak This course will include an overview of the twentieth century repertoire for vocalists, approaches to looking at a new score, per-formance practice techniques and visits from Canadian composers. May include performances with the New Music Ensemble. Pre-requisite – None

ACTING FOR SINGERS 1 (703-011) 3 credits Instructor – Jennifer Tarver This course will focus on stage movement for singers as it relates to operatic performance. Topics to be included: body alignment, issues of stage deportment including period movement, physical approaches to character development, and basic dance technique for singers. Pre-requisite – None

ACTING FOR SINGERS 2 (703-010) 3 credits Instructor – Tom Diamond This course will focus on developing acting technique for singers. Topics to be included: basic acting technique, developing the physical reality of character, situation and action, as well as an introduction to text analysis. These techniques will be applied to operatic roles, recital and oratorio repertoire, and any genre of music theatre. Pre-requisite – None FRENCH FOR SINGERS (703-014) (1.5 credits) Instructor – Diane Loeb French diction and language is studied with examples from the song and operatic repertoire. Pre-requisite – None

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ITALIAN FOR SINGERS (703-013) 1.5 credits Instructor – Marina Carletti Italian diction and language is studied with examples from the song and operatic repertoire. Pre-requisite – None OTHER STUDIES GRADUATE COMMUNICATIONS SEMINAR (603-002) 3 credits Instructor – Andrew Kwan This course features a series of wide ranging lectures, workshops and seminars that will engage students in the process of embracing their art more deeply, communicating effectively in the community, and developing the skills needed to manage their careers. Students will explore the meaning of art and its role in their lives, as well as in the lives of their audiences. They will be encouraged to develop their comfort level in communicating in different performance settings. Guests will include dancers, actors, and communications specialists as well as Musicians Association representatives, Arts Council representatives, performing arts presenters and health care professionals, who will offer sessions in writing résumés, creating press kits, marketing and musicians’ health. Students will be required to develop and articulate their own personal Mission Statement, maintain a journal, develop the tools for assessment of the dynamics of performance, speak about their repertoire on their final recitals, and participate in various performance initiatives. Pre-requisites – None ELECTIVES SPANISH FOR SINGERS (703-009) 1.5 credits Instructor – Guillermo Silva-Marin Spanish diction and language is studied with examples from the song and operatic repertoire. Pre-requisite – None RUSSIAN FOR SINGERS (703-008) 1.5 credits Instructor – Vera Kaushansky Russian diction and language is studied with examples from the song and operatic repertoire. Pre-requisite – None PERFORMANCE AWARENESS (800-001) (2 credits) Co-ordinator - David Visentin Beginning with a discussion of a particular stress-reducing technique, each class proceeds with breathing, stretching and meditation exercises. For successful integration of exercises and performance, students are required to bring their instruments to all classes. Pre-requisite – None

HISTORICAL PERFORMANCE PRACTICE (703-007) (3 credits) Instructor - Ann Monoyios A study of style and techniques of vocal music composed between ca. 1600-1750; aspects covered include Italian monody; English, German and French repertory; ornamentation and recitatives. Pre-requisite – None CAREER MANAGEMENT (671-002) (1 credit) Instructor – Andrew Kwan Students learn how to develop their careers through an introduction to the music industry, business writing, marketing and negotiation skills. Topics include Promotional Materials; Agents, Managers and Presenters; Concerts and Touring; Developing Ties with your Community; and The Role of the Artist in the 21st Century. Pre-requisites – None

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1. ACADEMIC POLICIES 1.1 DIPLOMA REQUIREMENTS To qualify for graduation from their program a student must complete all program requirements as stated in the Academic Calendar published in the student’s first year of admission. 1.2 ACADEMIC APPEALS A. INFORMAL APPEALS 1. Students who have reason to believe an assignment or examination grade is inaccurate should immediately contact their instructor. If a student is not satisfied with the outcome of this discussion, she/he may contact the Registrar to initiate a Formal Appeal. 2. Students should contact the Registrar for an Informal Appeal of all other academic issues. B. FORMAL APPEALS 1. Students may initiate a Formal Appeal by submitting a request in writing, together with relevant documentation, to the Office of the Registrar within thirty (30) days after the date on which the decision was received. 2. A request for a Formal Appeal should include the following information: (i) A clear and concise statement of the decision which is being appealed. (ii) A chronology of events involved in the appeal, including details of attempts to resolve the issue informally. (iii) The desired outcome. (iv) All documentation the applicant wants to be reviewed. Students who request a review of a decision on work which has been returned to them must submit the original work with their request. 3. A Formal Appeal will not be processed if made more than thirty (30) days after the date on which the decision was received, unless the student explains in writing why she/he was unable to submit her/his request within the time limit. The Registrar may, in her/his discretion, extend the time limit to request an appeal, or may refuse an extension of time and dismiss the request for appeal. 4. The Formal Appeal will be reviewed by the Academic Review Committee. 5. The Academic Review Committee may rescind or alter any previous academic decisions. 6. The Academic Review Committee, or its designate, will inform the student of its decision within seven (7) days of the Academic Review Committee meeting at which the appeal was reviewed. 7. In the event the student is not satisfied with the decision made by the Academic Review Committee, the student may submit an

appeal to the Appeals Committee of The RCM Academic Council whose decision shall be final. 1.3 ACADEMIC PROBATION

Academic Probation is for a period of one academic year. Students whose performance and/or academic improvements do not meet the Minimum Standards will be de-registered for the following academic year (see section: MINIMUM STANDARDS). Students who are de-registered, and who wish to return to the School, must re-apply. 1.4 ATTENDANCE Regular and punctual attendance is required at all lessons, classes

and rehearsals. 1.4.1 ABSENCE POLICY (a) The GGS recognizes two types of absences – excused and unexcused. Excused absences are limited to illness, and other compelling health or family emergencies; in the case of illness or health emergencies, a formal doctor’s note must be provided or the absence will be considered unexcused. All other absences are considered unexcused. All excused absences are considered and granted at the discretion of the specific class instructor(s). Students are responsible for all tests, course work and assignments missed or due in classes from which they are absent, whether excused or not, and will be marked accordingly. Students with four (4) or more unexcused absences in any given term may receive a failing grade in the course, and, in extreme cases, may be subject to probation or de-registration. (b) In the case of the Royal Conservatory Orchestra or the Opera, planned absences must be pre-approved by GGS Administration via the Absence Request Form process. Students will be required to make arrangements for a suitable replacement at their own cost. (c) Students receiving financial assistance through the Ontario Student Assistance Program (OSAP) are advised that absence from school for more than five (5) consecutive days is grounds for forfeiture of government funding. d) Three or more incidents of late arrival for a given class shall constitute one unexcused absence. e) Four or more incidents of unexcused absence in a given term for a given class shall constitute failure in the course. 1.4.2 CONCERT ATTENDANCE POLICY (A) Preamble The Glenn Gould School is extremely fortunate to exist in a city that is rich in classical music performances. As a school whose mandate it is to train tomorrow’s professional musicians, we understand the manifold importance of concert attendance. On the one hand, as we attend concerts we support our colleagues and our teachers. On the other hand, our attendance is a signal to the general concert-going public that live performances are worthy of their time and support. To acknowledge the importance of concert attendance The GGS has established the following Concert Attendance Policy. This policy will be effective as of the 2007/08 academic year.

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A+ 90-100 4.33 Distinguished A 85-89 4.00 First Class

A- 80-84 3.67 First Class

B+ 77-79 3.33 Above Average

B 74-76 3.00 Above Average

B- 70-73 2.67 Above Average

C+ 67-69 2.33 Average

C 64-66 2.00 Average

C- 60-63 1.67 Average

D+ 57-59 1.33 Below Average

D 54-56 1.00 Below Average

D- 50-53 0.67 Below Average

F 49 & below 0.00 Failure

IN Incomplete

P Pass

AG Aegrotat - Credit granted. Awarded in exceptional circumstances though course requirements not met

FC Failed Challenge - No credit granted. Failed attempt at credit examination

IN Incomplete - No credit granted

J Non-credit Course - Course requirements met

K Non-credit Course - Course requirements not met

PC Passed Challenge - Credit granted. Passed attempt at credit examination

S Satisfactory - Credit granted. Course requirements met

TC Transfer Credit granted

(B) Policy 1. All GGS students will be required to attend ten (10) professionally produced*, classical concerts over the course of the Academic Year. For the purposes of this policy, “classical” may be defined broadly to include contemporary music, jazz, and world music, but not rock. If a student is unsure of a particular concert, he/she is encouraged to consult with his/her private teacher or GGS Administration. 2. Ideally, five (5) of the ten concerts would be RCM performances (e.g. Artists of The Royal Conservatory (ARC), Great Artists Series, Royal Conservatory Orchestra, Opera Workshop). 3. The Concert Attendance Policy will be administered by GGS Applied Teachers and the Applied Teachers will adjust each student’s applied mark according to his/her adherence to the Policy. Application of the policy will be at the discretion of each Applied Teacher. 4. As proof of concert attendance, students will submit a Concert Attendance Form, along with a ticket stub and/or a concert program, to their Applied Teacher. The Form can be submitted at any point throughout the year. Note - Students are encouraged to inquire at The GGS office for a listing of concert series for which the School has special ticket pricing and/or complimentary ticket arrangements. 1.5 PRIOR LEARNING ASSESSMENT AND RECOGNITION (PLAR) A. COURSE CHALLENGE 1. Course Challenge is a Prior Learning Assessment mechanism which enables PDP students to receive credit for specified courses by examination, instead of in the classroom. For a list of these courses, please ask the Registrar. 2. Course Challenge examinations will be scheduled by the Administration. 3. A “PC” (Passed Challenge) grade is recorded on the student’s permanent record for students who satisfactorily complete a Course Challenge examination. PC courses will not be included in the GPA. B. CHALLENGE RESTRICTIONS 1. Students who are registered in a course and have submitted two or more assignments or have written the final examination are not permitted to write a challenge examination for the course. 2. Students are not permitted to challenge a course for which they have previously received credit at The GGS. 3. Challenge Exams will be administered prior to each semester’s deadline date to drop a course.

1.6 GRADING SYSTEM (as of 2004-2005)

1.7 RECITAL GRADING SYSTEM

Mark PDP—All Programs

ADP—Voice and Orchestral

PDP—Piano

90-100 A+ A+ A+

85-89 A A A

80-84 A- A- B

75-79 B B C

70-74 C C D

60-69 D D F 59 & below F F F

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1.8 DEFERRED EXAMINATIONS A student who is absent from a final examination for medical or other valid reasons must apply for a deferred examination or Aegrotat standing through the Registrar. Such application must be made within three (3) days of the missed examination along with documentary evidence. A $50 fee may be levied to cover the cost of these arrangements. 1.9 DOUBLE MAJOR The Glenn Gould School does not offer a double major; however, students in the Performance Diploma Program who pursue serious studies in more than one instrument may, after auditioning for both, request to take courses in a second area of study, including recital, lessons and literature courses. Students who choose to take lessons beyond the allotted 1.5 hours per week will be charged an additional fee. Credits earned in this manner will appear on the student’s transcript, but not the term “Double Major”. 1.10 ENGLISH LANGUAGE REQUIREMENTS A. Test of English as a Foreign Language (TOEFL) scores are

required of every applicant whose first language is not English and are used for the purpose of evaluating applicants for admission.

B. Minimum TOEFL Scores:

*This program is offered in partnership with Thompson Rivers University - Open Learning

C. Applicants whose first language is not English, but who have

completed secondary or post-secondary studies at English speaking institutions, may be exempt from TOEFL pending review of transcripts, and an interview.

D. Applicants who meet a high level in all other standards of admission, but have an English deficiency, may be admitted conditionally. 1.11 GRADE POINT AVERAGE (GPA) The grade point average is the weighted sum of the grade number of courses in which grade points were earned. Courses noted as transfer credit or PC (Passed Challenge) are not included in the GPA.

1.12 INCOMPLETE (IN) An IN grade will be given when a student is late in completing course work due to professional engagements or sudden medical, family or personal situations. Once the course work has been completed and a grade has been issued, the IN will be changed accordingly. A student who receives an incomplete grade(s) is required to complete all course work before September 1 of the subsequent academic year. If the work is not completed, the IN will automatically change to an F (Failure). 1.13 MINIMUM STANDARDS A. Artist Diploma Program - Piano

In order to progress to the next year of study, Artist Diploma Piano students must achieve an overall GPA of 3.00 (B) AND a minimum GPA of 3.67 (A-) in their Applied Music. In addition,

they must obtain at least a GPA of 2.67(B-) on each of their recitals. ADP Piano students carrying a GPA between 2.67 and 2.99 will be placed on academic probation or may be de- registered for one academic year.

B. All Other Students

In order to progress to the next year of study, students must achieve an overall minimum GPA of 2.00 (C) AND a minimum GPA of 1.67 (C-) in their Applied Music. In addition, students must obtain at least a GPA of 1.67 (C-) on their yearly recitals or 1st year jury. Students whose GPA falls below 2.00 (C) will be placed on academic probation or may be de-registered for one academic year.

1.14 TRANSFER CREDIT A. Transfer credit is evaluated for all studies taken through an accredited or similarly recognized education institution. B. Transfer credit is awarded to all qualifying courses passed with a minimum B- (70-73%) provided that the sending institution is recognized by The GGS and TRU, if applicable. C. Students applying for transfer credit must complete an Application for Transfer Credit form and submit it to the Office of the Registrar. The applicant must declare all formal studies and arrange for official transcripts from all previously attended post- secondary institutions at the time of initial application for transfer credit. Transcripts or officially authenticated translations must be sent directly from the sending institution to The GGS.

DIPLOMA / DEGREE PROGRAM MINIMUM TOEFL SCORE

*Bachelor of Music degree 550 paper / 213 computer / 79-80 internet based

Performance Diploma - all disciplines 550 paper / 213 computer / 79-80 internet based

Artist Diploma - Piano 500 paper / 173 computer / 61 internet based

Artist Diploma - Orchestral Instruments 500 paper / 173 computer / 61 internet based

Artist Diploma - Voice 550 paper / 213 computer / 79-80 internet based

PROGRAM Minimum GPA

Performance Diploma 2.00 (C) Overall, 1.67 (C-) in Applied Music, 1.67 (C-) on each recital or 1st year jury

Artist Diploma - Piano 3.00 (B) Overall, 3.67 (A-) in Applied Music, and 2.67 (B-) on each recital.

Artist Diploma - Orchestral Instruments

2.00 (C) Overall, 1.67 (C-) in Applied Music, 1.67 (C-) on each recital

Artist Diploma - Voice 2.00 (C) Overall, 1.67 (C--) in Applied Music, 1.67 (C-) on each recital

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D. Authenticated translation is required for official documents submitted in a language other than English or French. E. Credit may be granted on a course-by-course basis or for a combination of courses. F. All documents submitted, unless considered irreplaceable, become the property of GGS. 1.15 REGISTRATION (a) All students seeking course registration for the current academic year must submit a completed and signed “Course Registration” form to the Registrar’s Office in accordance with the instructions set out by the Registrar during the annual pre- registration period. (b) A minimum first installment of tuition fees (the 1st Semester tuition) must be paid, or fees deferred (through Scholarship or OSAP) by the deadline date specified in the “Important Dates” section of the Calendar in order for a student to be considered registered. 1.16 ADDITION OF A COURSE (a) A student may add a course selection to their academic schedule at any time up to the deadline date specified in the “Important Dates” section of this Calendar by way of submitting a completed and signed “Request to Add a Course” form to the Registrar’s Office. (b) A student who does not submit a “Request to Add a Course” form will not be deemed to be registered in the course, and will not receive credit for any work completed in that course. 1.17 WITHDRAWAL FROM A COURSE (a) A student may withdraw from a course at any time up to the deadline date specified in the “Important Dates” section of this Calendar by way of submitting a completed and signed “Request to Withdraw a Course” form to the Registrar’s Office. (b) A student who does not submit a “Request to Withdraw a Course” form by the published deadline date shall be deemed to still be registered in the course and shall be expected to complete all required course work and activities as outlined by the course instructor.

1.18 FAILURE IN A COURSE (a) A student who receives a grade of 49% or less in a given course shall be deemed to have failed the course. The student must then register for and repeat the course at the first opportunity. (b) A student who receives a failing grade in two courses in a given academic year will be placed on academic probation. (c ) A student who receives three or more failing grades in a given academic year will be de-registered for one full academic year and will be required to re-apply for admission.

1.19 REPEATING A COURSE (a) A student who receives a grade of 49% or less in a given course must repeat the course. If credit is not obtained in the repeated attempt, the student may undertake one more attempt to achieve the credit. If credit is not obtained in the third attempt, the student will be given the status of “Failed – Refused Further Registration”. (b) Where possible, a student who has been given the status of “Failed – Refused Further Registration” may appeal to the Academic Review Committee for approval to substitute another course in order to make up the missed credit. In this instance the student will identify the proposed substitute course, and will provide the Committee with a full course outline and syllabus, as well as a written statement of rationale as to how the substitute course will provide a comparable body of knowledge that will satisfactorily meet the student’s program requirements. 1.20 REPEATING A CREDITED COURSE A student may not repeat a course in which they have already achieved credit, as a means for improving their grade point average. However, a student who has achieved credit for a course may audit that course in subsequent semester offerings in order to improve their understanding of the subject material provided that they receive approval to do so from the course instructor, and register within the audit component of the course in order to do so. Students are advised to consult with the Registrar to make arrangements for auditing a course.

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2. ADMINISTRATIVE POLICIES 2.1 ACADEMIC REVIEW COMMITTEE The Academic Review Committee meets on a monthly basis to address academic and administrative issues within The GGS. 2.2 CHANGING PRIVATE TEACHER

Teacher assignments are made with great care and consideration. Students who wish to change teachers from one academic year to the next must first speak with the Registrar and submit a completed Change of Teacher Request Form to the Registrar by May 31. The GGS will not approve a mid-year change of teachers, except in rare circumstances.

2.3 STUDENT I.D. (RCM NUMBER)

A. Each student at the Royal Conservatory of Music is assigned a unique identification number. The number is confidential. The Conservatory, through The Glenn Gould School (The GGS) strictly controls access to Student I.D. numbers. The GGS assumes and expects that students will protect the confidentiality of their Student I.D. B. NOTICE OF COLLECTION CONCERNING FREEDOM OF INFORMATION AND PROTECTION OF PRIVACY The Royal Conservatory of Music and The Glenn Gould School respect students’ privacy. Personal information that you provide to the Conservatory is collected for the purpose of administering admissions, registration, academic programs, school related student activities, activities of student clubs and associations, financial assistance and awards, graduation, and for the purpose of statistical reporting to government agencies. Any change in the following must therefore be reported immediately to The GGS Registrar:

1. legal name 2. mailing and permanent address and telephone number 3. mailing address and telephone number during the school

year (if different from above) 4. social insurance number 5. citizenship status in Canada.

C. At all times personal information will be protected in accordance with the Freedom of Information and Protection of Privacy Act and will not be disclosed without the express written consent of the student, except in the following situations governed by institutional policy or statues of law:

a) for the purpose of complying with a subpoena, warrant, or order issued or made by a court, person, or body with jurisdiction to compel the production of information; b) in an emergency, if that information is required to protect the health or safety of the student or other persons; c) for the purposes of conducting research on behalf of The GGS. This is done only under signed agreements to maintain confidentiality and to ensure no personally identifying information is made public. Pursuant to this, students will be requested to sign a Privacy Statement Waiver at the beginning of each academic year.

D. If you have questions regarding any of the foregoing, please consult with The GGS Registrar. 2.4 DE-REGISTRATION The Glenn Gould School may de-register a student if said student has provided false or incomplete information; or fee payment arrangements made with the Financial Aid Officer have not been honoured.

2.5 DISCIPLINARY PROBATION Students in violation of The Student Code of Conduct, or Academic or Administrative policies may be placed on Disciplinary Probation at any time by the Dean or her/his designate. Students placed on Disciplinary Probation are ineligible for future RCM scholarships.

2.6 DISMISSAL

Grounds for dismissal include any form of cheating and/or plagiarism or falsification of academic information, or violation of the Student Code of Conduct. Students dismissed at the conclusion of the Fall semester are ineligible to attend The School for the remainder of the academic year. Students dismissed at the conclusion of the Spring semester are ineligible to attend The School during the following academic year. The GGS reserves the right to de-register any student whose continued enrollment is considered detrimental to the interests of The School. 2.7 DIVISIONAL COMMITTEE

The GGS Divisional Committee meets quarterly to discuss curriculum and academic policy issues. 2.8 DOCUMENTATION

All documents submitted to The GGS, unless considered irreplaceable, become property of The GGS. 2.9 DRUG AND ALCOHOL POLICY

The Royal Conservatory of Music is committed to maintaining a drug-free school and workplace. The Glenn Gould School is dedicated to excellence in musical performance and academic achievement; to promote this goal, The Glenn Gould School requires that faculty, staff and students maintain the highest standards of personal and professional conduct. The illegal or abusive use of drugs and alcohol on campus adversely affects the quality of academic life and the mission of the institution. Due to the violent and/or potentially fatal reactions to various substances, the use of drugs or alcohol on the premises is strictly forbidden and therefore prohibited. 2.10 EMAIL COMMUNICATION

All students attending The Glenn Gould School must have an active email address. This is our first line of communication with students. It is the responsibility of the student to ensure that their email account remains active. Any changes to email addresses should be reported to GGS Administration immediately. 2.11 GRADUATION/CONVOCATION

A. Students who plan to complete all requirements for their diploma by the end of the current academic year must complete an Application for Graduation Form and submit it to the Office of the Registrar for approval before October 1st of the current academic year. Students are strongly advised to make an appointment with the Registrar to confirm their eligibility for graduation.

B. Students whose grade point average indicates high scholastic achievement will be awarded a diploma as follows: 4.33 GPA —With Distinction, Dean’s Honours List 3.67-4.32 GPA —First Class Honours

C. Degrees and Diplomas will be withheld if students have outstanding assistantship hours, or unpaid accounts with the Financial Aid Officer, the Dean’s office and/or the Library.

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2.11 HARASSMENT POLICY A. The RCM is committed to providing an environment for all employees and students which is free from any form of harassment. Harassment is defined as any improper behaviour directed at and/or offensive to any employee or student. This includes objectionable comments or conduct which demean, humiliate or embarrass an individual and which are made on the basis of race, national or ethnic origin, colour, religion, age, gender, sexual orientation, marital status, family status or disability.

B. Sexual harassment encompasses a range of improper behaviour of a sexual nature. Examples of such behaviour include but are not limited to: inquiries or comment about an individual’s sex life, unwanted touching, any communications with sexual overtones causing embarrassment or humiliation, displaying of sexually offensive material, inappropriate or unwelcome focus or comment on a person’s physical characteristics or appearance.

C. If you wish to report an incident of harassment at The Royal

Conservatory of Music, you should contact the Human Resources Department at 416.408.2824 ext. 355 or the Registrar at 416.408.2824 ext. 253. All conversations will be strictly confidential. The RCM will handle any complaints in accordance with provincial legislation with respect to harassment.

D. The Glenn Gould School will not, in any way, retaliate against

any individual who, in good faith, makes a complaint or report of harassment, or participates in the investigation of such a complaint or report.

2.12 LEAVE OF ABSENCE

A. A Leave of Absence may be granted for a period of a few days, up to a portion of a semester, upon the express written approval of The GGS Administration, as determined in consultation with the student’s private instructor. A student on an approved Leave of Absence will remain registered for the semester and will still be responsible for all course work, examinations, juries, outstanding or incomplete course activities, and for all associated academic and ancillary fees. B. Students are again advised that absence from school for more than five (5) consecutive days is grounds for forfeiture of Ontario (OSAP) government funding.

2.13 MANAGEMENT COMMITTEE Management Committee meets monthly to address financial

issues within The GGS. 2.14 PRIVACY STATEMENT

The Glenn Gould School is committed to protecting the privacy and security of the personal information of its students. The GGS collects, retains, uses and discloses students’ personal information in order to better serve current students and alumni; to promote The GGS through recruitment and marketing efforts; to raise funds for The GGS; for planning and reporting to funders; and to collect and/or enforce payment of tuition and/or other fees. By enrolling at The Glenn Gould School, you consent to that use, retention, and disclosure of the information collected by The GGS. You may withdraw your consent to the collection, retention, use and disclosure of your personal information by giving The GGS reasonable written notice. Your withdrawal of consent still allows The GGS to collect, retain, use and disclose your personal

information to collect or enforce payments of amounts owing as a result of your enrollment at The GGS.

2.15 RE-ADMISSION

Students who have been absent or not registered for one or more consecutive semesters are considered to have withdrawn and must apply for Re-Admission. An application fee is required and students may be asked to re-audition.

2.16 RELATIONSHIPS Sexual and/or romantic relationships between employees or

contractors of The Royal Conservatory of Music and students are strictly prohibited.

2.17 RELIGIOUS ACCOMMODATION

The GGS accommodates students who, for reason of religious obligation, must miss an examination, test, assignment deadline, or other compulsory event. Such accommodation must be arranged directly with the instructor(s) involved. Students should make a

formal request in writing for alternative dates and/or means of satisfying requirements. Such requests should be made during the first two weeks of any given academic semester or as soon as possible after a need for accommodation is known.

2.18 YEAR-END REPORT CARDS

Year-end Report Cards are mailed following receipt of final marks from all instructors. Grades will not be released to students by any other means. Any errors or omissions should be reported immediately to the Office of the Registrar upon receipt of the Report Card.

2.19 RESIDENCY REQUIREMENTS AND COMPLETION TIMES

*Some exceptions allowed. Decisions will be based on the level of the student’s achievements and previous education.

2.20 SMOKING POLICY Smoking is not permitted in the building or in the front entrance area of The Royal Conservatory of Music.

2.21 STUDENT CARDS Students are issued a photo ID card at the beginning of their

studies at The Glenn Gould School. This student card is used for the duration of their program; a validation sticker will be placed on the card at the beginning of each new academic year. Students must provide two passport-sized photos to the Office of the Registrar. Government-issued photo ID (ex. passport or driver’s license) must be presented in order for the card to be released. Replacement cards are subject to a $10 processing fee.

PROGRAM Minimum Maximum

Performance Diploma Program *

3 years 5 years

Artist Diploma Program 2 years 3 years

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2.22 STUDENT RECORDS To access their academic records, students must submit a signed request by mail or fax (emails are not acceptable) to the Office of the Registrar. Access is determined on an individual basis.

2.23 STUDENT STATUS

A. Full-time Diploma Status

The Office of the Registrar must have a signed Offer of Admission or Confirmation of Enrollment before students can be registered for full-time studies. To be considered full-time, students must be registered in a minimum of 20 hours of class/private instruction per week. Only full-time diploma students are eligible for OSAP funding and Frederick Harris Assistantships.

B. Part-Time Diploma Status

The GGS does not offer a part-time diploma program. C. Professional Studies Status

Professional Studies status is available for Mature students who wish to refine their performance skills, or for GGS students who are within two (2) courses of completing their diploma program, or who have finished their GGS diploma program but wish to participate in one extra year of training. Admission to Professional Studies status is at the discretion of The GGS Dean.

For the purposes of clarification, a Mature student is a person

who is 21 years of age or older, and is either a Canadian Citizen or Permanent Resident, or who is otherwise officially recognized by Citizenship and Immigration Canada and is admitted to and permitted to remain in Canada.

D. Professional Studies students ARE NOT eligible for OSAP funding, RCM Scholarships or Assistantships. Students should consider their respective governments for financial assistance.

1. Full-Time Professional Studies Status: Entitles students to 1.5 hours of private instruction per week, and up to four (4) full-year courses.

2. Part-Time Professional Studies Status: Entitles students to one hour of private instruction per week and up to three (3) full-year courses.

2.24 TRANSCRIPTS

A. To order transcripts students must fill out an Official Transcript Request Form or submit a request in writing. Students should include in their request, their name, former names (if applicable), RCM#, current mailing address, number of transcripts required, and addresses where transcripts are to be mailed. B. The fee for each transcript is as outlined in article 4.8—Other Fees; payment options include cash, cheque, Visa, or Mastercard.

C. Students should be aware that it can take up to two weeks to process a transcript order. Students who request rush transcripts (i.e. two to three business days) must pay a premium fee as outlined in article 4.8—Other fees, for each transcript. The GGS will not courier transcripts.

D. Transcript requests not accompanied by payment will not be processed. Transcripts will not be issued until all outstanding accounts have been cleared.

E. No partial transcripts of a record are issued. 2.25 WITHDRAWAL

Students who wish to be away from The GGS for a semester or more must formally withdraw in writing to the Registrar. Students who withdraw, and who wish to return to The School, must re-apply. Please review article 2.15: Re-Admission.

3. STUDENT CODE OF CONDUCT The following Code of Conduct is intended to preserve freedom of

expression and association at The RCM, while protecting the civil, personal, and property rights of The RCM and its constituents.

3.1 UNACCEPTABLE STUDENT CONDUCT

The following are examples of unacceptable student conduct: A. Plagiarism. Plagiarism is the presentation of another person’s work, words, ideas, images, or data as one’s own without acknowledging the source. A student should not submit the work, words, ideas, images, or data of another person and represent them as her or his own in any academic work.

B. Cheating. Cheating is obtaining information or academic advantage by dishonest means, and includes, but is not limited to, the following: 1. Exchanging information with another student during an examination or using unauthorized material during an examination; 2. Representing or impersonating another, or permitting oneself to be represented or impersonated by another, in taking an examination or submitting, academic work; 3. Submitting academic work containing a reference to a source that does not exist; 4. Submitting, without first obtaining approval of the person to whom it is submitted, all or part of any academic work that has been co-authored; 5. Submitting academic work for two courses without first obtaining approval of the second tutor or the instructor; 6. Submitting graded academic work from a previous program of study. 7. Using previously graded repertoire in a performance based examination such as a recital or mock audition.

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C. Submitting false information or misrepresenting facts to The GGS, or to a third party, for the purpose of securing admission or registration, obtaining academic or other advantage, or for any other improper purpose. D. Conduct that disrupts the normal course of examination delivery, tutoring, teaching, studying, research, administration, or meetings. E. Theft, damage to, or misuse of RCM property or another person’s property, including unauthorized entry to or use of RCM facilities, classrooms, or offices, or inappropriate use of RCM computing resources. F. Non-compliance with The GGS and RCO Attendance Policies. G. Verbal and/or written statements considered to be abusive and which have been directed toward any Royal Conservatory of Music student, parent, administration and/or facilities personnel. 3.2 INTERIM MEASURES A. The proctor, instructor, program co-ordinator, supervisor, or administrator may immediately remove the student from the class, course, program of study, or other activity or premises, as the case may be, and may take such other measures as they consider appropriate. Such action may be taken if a student engages in any conduct which, in the opinion of a proctor, instructor, program co-ordinator, supervisor, or administrator, causes or is likely to cause: 1. Harm to any person or a threat to the safety or well-being of any person; 2. Damage or threatened damage to property; and/or 3. An immediate disruption or threat of disruption to a course or examination delivery, tutoring, teaching, studying, research, administration, or meetings. B. If a proctor or instructor has reason to believe the integrity of an examination or academic work has been compromised by plagiarism or cheating, the instructor may invalidate the results of the examination or academic work. C. Any measures taken under 3.2 A. above may be varied by the Registrar or Academic Review Committee, and do not preclude further consequences under this policy. D. The Registrar may also take such interim measures she/he considers appropriate. The provisions of 3.2 E. to F. below apply to any interim measures taken by the Registrar, with the necessary changes. E. Failure by a student to comply fully with measures taken under 3.2 A. is considered Unacceptable Conduct, independent of any other conduct of the student, and such failure may itself be subject to consequences. F. Where measures are taken under 3.2 A, the proctor, instructor, program co-ordinator, supervisor, or administrator will inform the Registrar of the measures and the relevant circumstances. The Registrar will inform the student of the measures, the reason they were taken, and that the student may request a Formal Appeal as provided for in paragraph 1.1.B of the Academic Policies section.

3.3 CONSEQUENCES OF UNACCEPTABLE CONDUCT Consequences of Unacceptable Conduct include, but are not limited to, the following measures, which may be taken singly or in combination: A. Warning. B. Probation for a specified period of time, or indefinitely, together with any conditions the Academic Review Committee considers appropriate. C. Restriction or revocation of practicing or other privileges. D. Cancellation or revocation of scholarships, bursaries, or Assistantship positions. E. Failing grade or mark of zero (0) in the course, examination, or academic work respective of which the unacceptable conduct occurred. F. Exclusion from a class, course, or program. G. Rejection of an application for admission or registration.

H. Suspension for a specified period of time (which may include deferral of the granting of academic credentials during the period of the suspension).

I. Cancellation of registration. J. Expulsion from The GGS. K. Legal prosecution

3.4 CONDUCT IN EXAMINATIONS Violations of any of the following examination regulations are punishable under the Student Code of Conduct policies: A. Food and beverages are not allowed in the examination room. B. Students shall not bring into the examination room any books, papers or other materials or devices except with the written permission of the examiner in the subject concerned or as indicated on the examination paper. C. No student shall be permitted to enter the examination room later than thirty (30) minutes after the beginning of the examination or allowed to leave within thirty (30) minutes after the examination has commenced. D. No student shall be permitted to leave the examination room within the last ten (10) minutes of the examination period. E. Students shall hold no communication of any kind with other students within the examination room. Cheating will not be tolerated. F. Unless the supervisor has granted permission, students may leave their seats only to turn in their examination papers.

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4. FINANCIAL INFORMATION

4.1 CONFIRMATION FEE Every student must submit a non-refundable Confirmation Fee of $350 CAD (Canadian/Landed Immigrant students) or $750 CAD (Visa students) to confirm a place in the program. The Confirmation Fee will be applied to 2006-2007 tuition and must be returned along with the signed Offer of Admission/ Confirmation of Enrollment contract.

4.2 NON-PAYMENT OF FEES Failure to pay fees by the stated deadlines will result in the withholding of services by The Glenn Gould School and, de- registration with five (5) academic days of notification of non- payment. All NSF cheques and declined credit cards will be subject to a $50.00 processing fee. Failure to make payment of other specified fees will result in withholding of services by The Glenn Gould School. The Glenn Gould School reserves the right to engage the services of an outside debt collector to collect outstanding fees. Students will not be eligible for re-registration, be granted access to any school facilities or service, will not receive grades or transcripts, and will not be permitted to graduate until all outstanding accounts have been cleared. 4.3 ONTARIO STUDENT ASSISTANCE PROGRAM (OSAP) A. Full-time students enrolled in the Performance Diploma Program or Artist Diploma Program may be eligible for assistance under one or more of the following components of the Ontario Student Assistance Program (OSAP):

• The Canada Student Loans Program (CSL)

• The Ontario Student Loans Plan (OSL)

B. Professional Studies students are not eligible for OSAP assistance.

C. Students are not guaranteed OSAP funding. Funding is dependent on the Ministry of Training, Colleges and Universities’ determination of the student’s eligibility based on the assessment of his/her OSAP application. The deadline for submitting OSAP applications for 2007-2008 is late June 2007.

D. Students who use OSAP loans to pay for their fees must have written confirmation from OSAP, including the amount they will be receiving. This confirmation must be received by the Office of the Registrar prior to the first installment due date as outlined in the “Important Dates” listing in this Calendar. Students who do not have a confirmation statement by the due date, must still remit fees by the due date. E. All students who receive financial aid must provide to the Financial Aid Officer, their Social Insurance Number (SIN) card and a government-issued photo identification card. A copy of these items will be placed in the student’s file.

F. Active Student Participation Policy Full-time students who apply for OSAP must be in full-time attendance. Students must attend 20 hours of class instruction per week for the full term. A student who does not comply with the Active Student Participation Policy for five (5) consecutive days will no longer be eligible for OSAP.

G. Refunds A student is eligible for a full tuition refund on or before the first day of classes. After the first day of classes, refunds are on a pro rata basis and at the discretion of The Glenn Gould School. The date of withdrawal is the last day of full-time attendance by the student. Within 30 days of the date of withdrawal, the Institution must first forward any applicable tuition fee refund to the student’s bank, the National Student Loans Service Centre, and/or the Student Support Branch of the Ministry of Education & Training. If the loan document has not been negotiated or cashed, the loan document is returned to the Student Support Branch of the Ministry of Education.

H. Withdrawn Status Students are considered to have withdrawn from their program of study if: 1. She/He has advised the institution that she/he has withdrawn from the program; 2. She/He has not complied with the Attendance Policy for five (5) consecutive days; 3. She/He has been de-registered from the institution; 4. For any reason is incapable of attending classes. I. For the purposes of OSAP, within fourteen (14) days of withdrawal, The GGS must send to the Ministry a copy of the completed Student Activity Update form, any OSAP loan authorization documents, and must notify the Canada Student Loan Program and/or the Ontario Student Loans P l a n by completing the educational institution copy of the CSL loan document. 4.4 PAYMENT SCHEDULE A. Students may choose to pay tuition fees in full, two installments of over a six (6) month payment plan. Full year, and/ or first installment payment must be received by August 24; second installment payment must be received by January 15. Please contact the Financial Aid Officer on further information regarding the payment plan process. Registration is not complete until fees have been paid or payment arrangements have been finalized with the Financial Aid Officer. B. Students who require assistance meeting tuition deadlines should meet with the Financial Aid Officer prior to the 1st installment deadline date to make special arrangements and/or to inquire about additional scholarships and bursaries. Students who apply for outside grants, loans, and/or bursaries must initiate proceedings far enough in advance to ensure that these deadlines are met.

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Students whose loans have not been approved or whose financial aid from other sources has not been verified by the 1st installment deadline date are still required to pay their first installment by the due date. C. Tuition payments may be made by certified cheque, cash, money order, VISA, or MasterCard. NSF cheques and/or declined credit cards will be subject to a $50 processing fee. D. Students who fail to comply with the payment schedule will be de-registered. (see: NON-PAYMENT OF FEES above).

4.4 RESIDENCY Students who are classified as permanent residents or landed immigrants are eligible for Canadian tuition. Students must provide The GGS with official government documentation by the first installment deadline for full year tuition or by the second installment payment for spring tuition only. Changes to tuition payments cannot be made retroactively. It is the student’s responsibility to inform The GGS of any change in residency status.

4.5 REFUNDS A. Students who wish to withdraw from the Program must submit a written notice of withdrawal in order to receive a refund of tuition fees. The date of withdrawal is the date on which the written withdrawal notice is received in the Office of the Registrar. A $50 CAD processing charge will be levied against all refund requests. Refund requests take approximately thirty (30) days to process. B. Only Tuition Fees are eligible for refund according to the following schedule:

1. On or before 1st day of classes:

100% of first installment tuition fee, less Confirmation Fee

2. September 10 to October 3: 60% of first installment tuition fee, less Confirmation Fee

3. October 4 to 17: 40% of first installment tuition fee, less Confirmation Fee

4. As of October 18: No first installment refunds given after this date

5. Before December 12:

100% of second installment tuition fee, less Confirmation Fee

6. As of December 12: No second installment refunds given after this date.

4.6 RCM AWARDS A. All students of The Glenn Gould School are eligible for RCM Awards, which take the form of scholarships, bursaries and other forms of financial aid. Students who require financial assistance greater than that provided by The Glenn Gould School should consider their government’s student aid program. Financial assistance is specific to each academic year; awards may vary from year to year. Additional Bursary forms are available in the Office of the Registrar and must be submitted by September 14 (re: first installment) and January 18 (re: second installment) for the 2007- 2008 academic year. B. Awards, scholarships or bursaries may be revoked at any time if the following requirements are not met: 1. Scholarship and bursary recipients must be students in good standing and must maintain satisfactory academic progress. 2. Scholarship and bursary recipients are required to write a detailed thank you letter to their patron(s) and may be called upon for a performance(s). 3. Bursary recipients are required to disclose any changes to their financial situation which would affect their need for financial assistance. 4. Students are required to treat all financial information between her/himself and The GGS as confidential. C. A student whose scholarship and/or bursary has been revoked may appeal the decision in writing to the Management Committee by providing a letter outlining the basis of the appeal and any special circumstances which warrant consideration.

D. BURSARIES

Students who can demonstrate financial need beyond the support provided by scholarship awards may apply for Bursary assistance. Additional Bursary applications are available in the Office of the Registrar and should be made to the GGS Financial Aid Officer by the deadline dates as outlined in the “Important Dates” listing in this Calendar.

E. FREDERICK HARRIS ASSISTANTSHIP POSITIONS

Students who require additional financial aid may apply for one or more Frederick Harris Assistantship Position(s). Assistantship applications and a list of Assistantships are available in the Office of the Registrar. Due to the limited number of Assistantships, The Glenn Gould School cannot guarantee a position for every student.

F. SCHOLARSHIPS

The Glenn Gould School offers Patron and other Scholarships to outstanding students. These scholarships are awarded to incoming students based on audition results, and to returning students based on progress and performance levels.

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4.7 TAX RECEIPTS The RCM issues the T2202A tax form to students over the age of 16. Please consult Canada Customs and Revenue Agency’s publication “Students and Income Tax” or their website (http://www.ccra- adrc.gc.ca/E/pub/tg/p105/p105-e.pdf) for information about claiming tuition fees paid.

4.8 OTHER FEES A fee is charged, and is payable at the time of request, for the following ancillary services: Appeals (if unsuccessful) $ 20.00 Diploma replacement $ 60.00 Final Examination Deferral $ 50.00 Re-Admission Application $100.00 Recital Deferral Request $ 50.00 Student Card replacement $ 10.00 Transcript request (regular—per copy) $ 10.00 Transcript request (rush—per copy) $ 25.00 Verification of Registration letter $ 10.00

5. STUDENT SERVICES

5.1 ACCOMPANISTS (COLLABORATIVE ARTISTS) FOR STUDENTS

The GGS will provide a limited number of accompanying hours for students. Official accompanying privileges and regulations will be published in the Student Agenda and/or distributed at the beginning of the school year.

5.2 PRACTICING AT THE ROYAL CONSERVATORY OF MUSIC A. 75 studios and 15 classrooms are available for student practicing. Certain rooms are designated for specific disciplines (brass, percussion, harp, and piano). These rooms are shared among The Glenn Gould School, the Young Artists Performance Academy, and the Community School. RCM spaces are administered by the Scheduling Office in the best interests of all members of The RCM community.

B. When not being used for RCM private teaching, studios are available for student practice on a first come, first served basis. Best availability for practice rooms is usually Monday to Friday between 8am-12pm and 8-11pm, Saturday between 8-11am and after 5pm, and Sunday all day. Classrooms are available for student practice.

C. Policy details governing studio usage will be published in the Student Agenda and/or distributed at the beginning of the school year. D. Building Maintenance Periods Access to practice studios will be limited during the summer months. Please consult with the Scheduling Office for exact details.

E. Building Closures Please refer to the “Important Dates” listing at the beginning of this Calendar. 5.3 HEALTH INSURANCE The Glenn Gould School does not provide health insurance. Generally, Canadian students are covered by their home province. Foreign students should arrange for their own health coverage; brochures are available in The Office of the Registrar.

5.4 HOUSING A. The Royal Conservatory of Music does not have on-campus housing or dormitory facilities. We recommend that students c onsider the following list of sources for housing availability in the City of Toronto.

B. Classified sections of Toronto daily & weekly newspapers Toronto Star www.thestar.ca Toronto Sun www.classifiedextra.ca Globe and Mail www.globeandmail.com/services/site/ classifieds/ NOW Magazine www.nowtoronto.com/cgi-bin/class EYE Magazine www.eye.net/classifieds Toronto Information www.toronto.com C. Other Listings Primrose Hotel www.torontoprimrosehotel.com Tartu College www.tartucollege.ca 247Apartments www.247apartments.com/default.asp Bowers Home Stay www.canadahomestay.com *New Horizon Tower www.newhorizonstower.com St. Vladimir Institute www.stvladimir.ca

*This location is primarily an upscale senior’s residence but they also offer student housing. It has a reputation of being one of the most affordable student residences in the City of Toronto. As a major advantage to Glenn Gould Students, New Horizons Tower is walking distance to 90 Croatia Street, the temporary two-year relocation for The Royal Conservatory of Music.

D. Furnished Apartments: The Alexandra Apt/Hotel www.alexandrahotel.com

5.5 JOBS/CONTINUING EDUCATION/COMPETITIONS/SUMMER FESTIVALS The GGS maintains a comprehensive collection of brochures and application forms for other music schools, competitions and summer music festivals in the GGS Administrative Offices. Orchestral auditions, vocal auditions, teaching jobs and other musical services are posted outside the GGS Administrative Offices.

5.6 LETTERS FROM THE DEAN The Dean is pleased to provide letters of recommendation for students applying to summer camps, competitions, grants, festivals, and other music programs. The Dean cannot provide letters related to immigration or work visas. It takes approximately two (2) weeks to process a request for a Letter of Recommendation. Requests should be submitted to the Student Services Manager.

STUDIO PRACTICE HOURS

Academic Year Summer

Monday - Friday 8am to 11pm 830am - 8pm

Saturday 8am - 10pm 830am - 5pm

Sunday 10am - 10pm Closed

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5.7 LIBRARY FACILITIES

A. The Royal Conservatory of Music Library The RCM Library collection includes more than 25,000 sound recordings, 21,000 music scores, and 10,000 books on music, plus several online databases and encyclopedias. Computers are available for library research, and there is also listening and audio-visual equipment, and a public access printer and photocopier. The Library is open Monday to Saturday during the academic year; hours are reduced during the summer. Reference assistance is available during library hours. Library policies will be published in the Student Agenda, and are also available on our web site. B. Toronto Reference Library The Toronto Reference Library - 789 Yonge Street, just north of

Bloor Street - is located a few blocks or subway stops from The Royal Conservatory of Music. The Toronto Reference Library contains more than 45,000 printed music scores, over half of which can be borrowed; the audio collection consists of 29,000 recordings for use at listening stations; the extensive collection of music books is available for use in the Library only. The Library may be reached by telephone at 416.395.5577, or by e-mail at www.tpl.toronto.ca.

C. Toronto Public Library

Materials in the nearly 100 branches of the Toronto Public Library may be accessed through the library catalogue and will be sent to the most convenient branch. The library catalogue is available on line at www.tpl.toronto.ca 5.8 NEWSWORTHY Please send detailed information about your competition winnings, scholarships, grants, concert reviews, and other achievements. Email: [email protected] or fax to the attention of Sarah Cowan, 416.408.5025 5.9 PERFORMANCE OPPORTUNITIES

A. Chamber Music Chamber music is an integral component of The GGS curriculum. Numerous performance opportunities exist at The RCM and off site venues, and as part of outreach programming. As well, students are often engaged by local and regional concert presenters. In the past, Glenn Gould School students have participated in concert series at Roy Thomson Hall (Noon Hour Concerts), The Arts and Letters Club, Toronto Music Garden, Stratford Summer Music, CBC Glenn Gould Studio, Music at Cookstown, and Barrie Colours of Music Festival, the Royal Ontario Museum, and Royal St. George’s College. Students are chosen at the discretion of the Administration.

B. Choir This choir consists of students from The Glenn Gould School and The RCM Community School Repertory Chorus. The choir rehearses once a week and prepares two full concerts per year. PDP voice students may also have opportunities to perform solo with the Choir.

C. Concerto Competition Each Fall, The GGS administers a Concerto Competition for GGS students. Winners of the Concerto Competition perform with The Royal Conservatory Orchestra. Applications are available in the GGS Administrative Offices.

D. Ensemble-in-Residence Student ensembles interested in receiving extra coaching, career management mentoring, and representing the school in a variety of performance activities may apply to The GGS’s Ensembles-in- Residence program. For further information please contact the Associate Dean.

E. Freelance Engagements The Glenn Gould School is approached regularly by members of the public for specific musical services. In response to this need, The GGS compiles a list of student musicians available for hire. Interested students should provide their contact information to the Student Services Manager.

F. Master Classes

The Master Class program is unique to The Glenn Gould School curriculum. The GGS presents over 100 master classes annually by acclaimed GGS faculty and guest artists such as Leon Fleisher, Robert McDonald, Regina Resnik, Warren Jones, Jeanne Baxtresser, Julie Landsman, Timothy Eddy, Kim Kashkashian, Camilla Wicks, and George Crumb. G. Noon Hour Concerts These concerts run on Wednesdays at noon for one hour and are a great opportunity to try out new repertoire and interesting ensembles. They feature students, faculty, visiting artists, or combinations thereof and should be something different and unique separate from the “usual” chamber concert. All proposals will be considered and should be submitted by the end of June for inclusion in the concert season brochure.

H. Promotional Engagements Occasions may arise when an individual student or student ensemble will be called upon to perform at special events which promote The GGS and/or The RCM. Invitation to participate in such events is considered an honour, and services are provided without payment.

I. Showcase Concerts Each department of The GGS (Piano, Voice, Strings, Harp, Woodwinds, Brass, Percussion) may propose a concert to showcase their department’s students. These opportunities may be scheduled as part of the Noon Hour series. These concerts are an initiative of faculty and students.

J. Opera Workshop

The Opera Workshop is an intensive full-year course, culminating in an opera production with orchestra in the Spring. Recent works performed include: Mozart, Die Zauberflöte and Cosi fan tutte; Bernstein, Trouble in Tahiti; Purcell, Dido and Aeneus; Massenet, Cendrillon; Britten, Turn of the Screw; Ravel, L’enfant et les Sortileges; and Vaughan Williams, Riders to the Sea.

K. Outreach

Outreach is about sharing music with audiences in a variety of contexts. The skill and comfort level required to relate to and communicate with diverse audiences is crucial to the success of any musician embarking on a professional career. The GGS is constantly developing relationships with health care and educational institutions, rural communities, festivals, and other cultural organizations.

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L. Royal Conservatory Orchestra (RCO) The RCO is an essential part of the PDP and ADP orchestral program. Placement auditions are held in September. Conductors rehearse the orchestra under intense, professional conditions. Recent works performed include: Mahler, Symphonies Nos. 2-5; Shostakovich, Symphonies Nos. 5 and 14; Stravinsky, Rite of Spring, Petroushka, Pulchinella; Mussorgsky, Pictures at an Exhibition; and Bartok, Music for Strings, Percussion and Celeste. As well, RCO performs Canadian work(s) annually.

5.10 PERFORMANCE VENUES

A. Concert Hall Capacity: 800; Two New York Steinway Concert Grands B. Room 305, Performance Room Capacity: 50; One New York Steinway Concert Grand, One Yamaha Concert Grand C. Room 303 Capacity: 30; Two Yamaha Mid-Size Grands D. Room 301.1 Capacity: 30; One Yamaha Disklaviers, One Yamaha Mid-Size Grand

5.11 STUDENT COUNCIL The Student Council’s role in The GGS is twofold— social and representational. On the social side, the Council organizes special events such as orientation, parties, and social outings. The Council also acts as the students’ representative with GGS Administration, as well as the academic committees and various councils of The RCM.

5.12 TECHNOLOGY LAB The RCM Music Technology Lab includes a Disclavier Yamaha Grand Piano, Yamaha Clavinova workstations, MacIntosh and PC computer workstations, scanner, printer, multimedia, Sibelius and Finale, music notation, and web-publishing software (ProTools), sequencers and digital audio software, Yamaha digital mixing board, Sony CD burner, Imovie and Final CutPro, G5 computer—video editing suite, Miro Video Card, DVD player, TV, digital video camera, and listening stations. Students have been creating/editing their own audio CDs and DVDs in our new lab. GGS students may use the Lab for email, internet, and homework purposes. 5.13 MUSIC AND BOOKSTORE Under the management of Long and McQuade, The RCM Music and Bookstore is located on the main floor of the building. The store has a wide variety of materials for all areas of music study and performance including:

• An extensive selection of instrumental and vocal music • Full access to one of the largest print music inventories in North America (Ward Music in Vancouver) • Accessories such as tuners, metronomes and music stands • Textbooks, scores and general interest music books • Jazz and popular music selections • Manuscript paper and dictation books • Classical CDs (CBC records, Naxos et al.) • Fast and efficient special ordering and mail ordering service

Glenn Gould School Students receive a 15% discount at this retail location upon presentation of student ID.

Phone: 416.585.2225 / Toll Free (Canada only): 1.866.585 2225 Fax: 416.585.7801 Email: [email protected] Website: www.rcmmusicstore.com

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JURIES AND RECITALS

JURIES Performance Diploma Program—Year 1 students (only) LENGTH: 20 minutes DATE: late April (see Student Services Manager to arrange time and date) INSTRUMENT: All REPERTOIRE: must consist of four (4) contrasting works representative of different styles, eras and genres RECITALS • Artist Diploma Piano students must obtain a passing mark of

70% (GPA 2.67) on their recitals in order to continue or graduate.

• All other students must obtain a passing mark of 60% (GPA

2.00) on their recitals in order to continue or graduate. • All in-year recitals must be completed by May 31st. Once a

recital date is scheduled for a student the date may not be changed. Notwithstanding this general policy, The GGS recognizes that occasionally there will be exceptions.

• Where a student has a legitimate reason to request a change or

deferral, the student must submit a completed and signed Recital Deferral Request form, and pay the appropriate fee. All recital forms are available on The GGS website, or in The GGS Administrative office.

PERFORMANCE DIPLOMA PROGRAM (PDP) WOODWINDS, BRASS, HARP & PERCUSSION

RECITAL LENGTH Minimum Music Maximum Music Year 2 – 1 Recital 45 minutes 70 minutes Year 3 – 1 Recital 50 minutes 70 minutes Year 4 – 1 Recital 60 minutes 70 minutes RECITAL REPERTOIRE • Programme must be approved by the appropriate Department

Head a minimum of one (1) month in advance of the recital date.

• Each credit recital must contain repertoire representing various styles and periods.

• Over the course of the three credit recitals each student must present: • A minimum of one (1) Canadian composition • One (1) Chamber work • One (1) complete concerto

• All works must be solo, except for the Chamber Music component (see above).

• Additional Chamber works must be approved in advance by the Department Head

• Encores which are not listed on the program will not be adjudicated.

• Intermissions must be limited to 10 minutes and the inclusion of an intermission cannot result in the total length of the recital exceeding the time booked.

MEMORIZATION • Woodwinds/Brass/Percussion: Memorization of material not

required. • Harp: All material must be memorized except duo sonatas and

chamber music.

PERFORMANCE DIPLOMA PROGRAM (PDP) STRINGS & PIANO




• Over the course of the three credit recitals each student must present: • A minimum of one (1) Canadian composition • One (1) Chamber work (or a set of art songs, for pianists) • One (1) complete concerto

• All works must be solo, except for the Chamber Music component (see above).

• Additional Chamber works must be approved in advance by the Department Head.


• Intermissions must be limited to 10 minutes and the inclusion of an intermission cannot result in the total length of the recital booking exceeding the time booked.

MEMORIZATION • Piano – All material must be memorized except duo sonatas,

chamber music and art songs. • Strings – All material must be memorized except duo sonatas

and chamber music. • Contemporary Music – Repertoire in a contemporary idiom

need not be memorized.

PERFORMANCE DIPLOMA PROGRAM (PDP) VOICE



• Each credit recital must contain repertoire representing various styles, periods, and languages.

• Over the course of the three credit recitals, each student must present:

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• A minimum of one (1) Canadian composition • Repertoire in English, Italian, French, and German. (Other

languages are optional.) • All works must be solo, except for the Chamber Music

component (see above). • Chamber music must be approved in advance by the

Department Head. • Concert and Oratorio arias are permitted. Opera arias are not

permitted. • Instrumental interludes between vocal works are not permitted. • Encores which are not listed on the program will not be

adjudicated. • Intermissions must be limited to 10 minutes and the inclusion of

an intermission cannot result in the total length of the recital booking exceeding the time booked.

MEMORIZATION • All art songs and arias, including oratorio arias with obbligato

instruments, must be memorized. • Any piece of chamber music character which includes

instruments in addition to or instead of the piano need not be memorized.

• Contemporary Music – Repertoire in a contemporary idiom need not be memorized.

ARTIST DIPLOMA PROGRAM (ADP) - PIANO RECITAL LENGTH (for each recital) Minimum Music Maximum Music Year 1 – 2 Recitals 65 minutes 75 minutes Year 2 – 2 Recitals 65 minutes 75 minutes RECITAL REPERTOIRE • Programme must be approved by the appropriate Department

Head a minimum of one (1) month in advance of the recital date. • Each credit recital must contain repertoire representing various

styles and periods. • Over the course of the four (4) credit recitals each student must

present: • A minimum total of two (2) Canadian compositions on two

of the four recitals. • All works must be solo, unless otherwise approved by the

Department Head. • Chamber works (or a set of Art Songs) are permitted but they

must be approved in advance by the Dean. Chamber works will be judged as a collective performance.



MEMORIZATION • All material must be memorized except duo sonatas, chamber

music and art songs. • Contemporary Music – Repertoire written in a contemporary

idiom need not be memorized.

OTHER ADP Piano students may perform one (1) of the four (4) credit recitals at an off-site venue. Off-site recitals are evaluated by adjudicators, if in Toronto, or by tape if outside Toronto. If the concert is to take place outside Toronto, the student must arrange to have a professional quality recording of the performance made; an unsatisfactory recording could be considered a failure. Students must also submit published reviews (if any) and promotional materials for the recital. Reviews will not be used as evaluations or to determine grades.

ARTIST DIPLOMA PROGRAM (ADP) - ORCHESTRAL INSTRUMENTS

RECITAL LENGTH Minimum Music Maximum Music Year 1 – 1 Recital 60 minutes 75 minutes Year 2 – 1 Recital 60 minutes 75 minutes --or— Year 2 – Mock Audition

RECITAL REPERTOIRE

● Programme must be approved by the appropriate Department Head a minimum of one (1) month in advance of the recital date.


• Over the course of the two (2) credit recitals each student must present: • A minimum of one (1) Canadian composition on one of the

recitals • All works must be solo, unless otherwise approved by the

Department Head. • Chamber works are permitted but they must be approved in

advance by the Department Head. Chamber works will be judged as a collective performance.



• Mock Audition – A major, juried evaluation of all orchestral excerpts studied during the two-year program, as covered in Orchestra Repertoire class. This option must be applied for in writing by November 15th of the academic year in which the Mock Audition would take place.

MEMORIZATION • Strings & Harp – All material must be memorized except duo

sonatas and chamber music. • Woodwinds, Brass, Percussion – Memorization of material not

required. • Contemporary Music – Repertoire written in a contemporary

idiom need not be memorized. • Mock Audition Excerpts – Memorization not required.

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ARTIST DIPLOMA PROGRAM - VOICE

RECITAL LENGTH Minimum Music Maximum Music Year 1 – 1 Recital 55 minutes 70 minutes Year 2 – 2 Recitals 55 minutes (each) 70 minutes --or— Year 2 – 1 Recital + Major Professional Operatic Role RECITAL REPERTOIRE

• Programme must be approved by the appropriate Department Head a minimum of one (1) month in advance of the recital date.

• Each credit recital must contain repertoire representing various styles, periods, and languages. • Languages – Minimum of English, plus two (2) other languages on each recital. Over the course of the three (3) recitals, English, French, German, and Italian must be represented. The use of other languages is optional. • Over the course of the three (3) credit recitals each student

must present: • A minimum of one (1) Canadian composition on one of

the three (3) recitals • One (1) operatic aria may be included in two of the three

recitals. • Instrumental interludes between vocal works are not permitted. • Encores which are not listed on the program will not be adjudicated. • Intermissions must be limited to 10 minutes and the

inclusion of an intermission cannot result in the total length of the recital booking exceeding the time booked.

● Major Professional Role – Students who win a major professional role may request to have their performance evaluated in lieu of one recital in the second year. Performances that take place in Toronto will be evaluated by adjudicators; the student must provide two (2) complimentary tickets to a performance. For performances that take place outside Toronto, the student must arrange to have a professional quality recording of the performance made; an unsatisfactory recording could be considered a failure. Students must also submit published reviews (if any) and promotional materials for the recital. Reviews will not be used as evaluations or to determine grades.

MEMORIZATION • All art songs and arias, including oratorio arias with obbligato

instruments must be memorized. • Any piece of chamber music character which includes

instruments in addition to or instead of the piano need not be memorized.

• Contemporary Music – Repertoire in a contemporary idiom need not be memorized.

PROFESSIONAL STUDIES STATUS Depending on equivalent year of study, students in the Professional Studies Program may perform one (1) adjudicated recital, subject to space availability.

NON-CREDIT RECITALS (ALL PROGRAMS) Students who wish to perform solo or chamber recitals for non-credit purposes must submit a Non—Credit Recital Request Form.

RECITAL BOOKING WINDOWS 2007-08

Program and Year of Study

Instrument Window to Book Recital

PDP, Year 2 All Orchestral Instruments, Voice and Piano

February 18 through February 22, 2008

PDP, Year 3 All Orchestral Instruments, Voice and Piano


PDP, Year 4 Graduation recital

All Orchestral Instruments, Voice and Piano


ADP, Year 1 and 2 Piano 1st Recital (of 2)

October 22 through October 26 2007

ADP, Year 1 All Orchestral instruments, and Voice

February 18 5hrough February 22, 2008

ADP, Year 2 Voice 1st Recital (of 2)

October 22 through October 26 2007

ADP, Year 2 Graduation recital

All Orchestral Instruments, Voice and Piano


55

COURSE NAME COURSE #

Acting for Singers 1 and 2 703-010/ 703-011

Advanced Conducting and Score Reading

607-001

Art Song Repertoire: 20C 597-001

Art Song Repertoire: Opera 597-002

Art Song Repertoire: French 597-003

Art Song Repertoire: Lied Study 597-004

Baroque Art in Italy and Spain 621-005

Canadian Repertoire 617-019

Career Management 671-002 598-001

Chamber Music 667-001/ 667-002 667-004

Choir 600-001

Choral Conducting 607-002

Communications - Music and Community

602-002

Concert Repertoire 703-006

Diction - English 1 & 2 608-001 608-005

Diction - French 608-007

Diction - German 608-004

Diction - Italian 608-008

English 100 621-004

English 101 621-009

Flemish & Dutch Baroque Painting

621-006

French Art in 19th Century 621-008

French Rococo & English Art 621-007

French for Singers 703-014

German for Singers 703-012

INDEX OF COURSES


Graduate Communications Seminar 603-002

Historical Performance Practices - Keyboard 620-003 619-001

Historical Performance Practices - Strings 620-004 619-002

Historical Performance Practices - Winds 619-006 620-005

Historical Performance Practices - Voice 703-007 619-003

Introduction to Music History 618-008

Introductory Conducting and Score Reading 607-004

Italian for Singers 703-013

Keyboard Harmony 3: Improvisation 623-008

Keyboard Harmony 4: Jazz 623-009

Language for Singers: French 608-003

Language for Singers: German 608-006

Language for Singers: Italian 608-002

Master Class - Brass 516-007 626-004

Master Class - Harp 516-006 626-008

Master Class - Percussion 516-005 626-005

Master Class - Piano 516-001 626-006

Master Class - Strings 516-008 626-001

Master Class - Voice 516-004 626-002

Master Class - Woodwinds 516-009 626-003

Materials 1 - Aural Skills 627-010

Materials 1 - Keyboard Harmony 623-007

Materials 1 - Theory 627-002

INDEX OF COURSES

56


Materials 2 - Aural Skills 627-014

Materials 2 - Keyboard Harmony 623-005



Music History - Bibliography 618-005

Music History Review 618-009

Music Literature 1 - Piano 625-019

Music Literature 1 - Strings 625-020

Music Literature 1 - Voice 625-025

Music Literature 1 - Winds 625-021

Music Literature 2 - Piano 625-022

Music Literature 2 - Strings 625-023

Music Literature 2 - Voice 625-026

Music Literature 2 - Winds 625-024

New Music Ensemble 511-001

Opera Repertoire 703-001

Opera - Scene Study 817-001

Opera Workshop 629-001

Oratorio Repertoire 703-005

Orchestra (Royal Conservatory Orchestra) 630-001

Orchestral Literature Survey 517-001

Orchestral Repertoire 515-008

INDEX OF COURSES


Performance Awareness 636-001 636-002

Performing Arts Criticism 621-003

Piano Duos 638-001

Recital (ADS, ADO, ADV) 641-002 to

641-009

Recital (PDP) 639-003 639-004 639-005 639-006

Russian for Singers 703-008

Sight Singing/Ear Training for Singers 644-004

Sonata Repertoire 711-002 645-002

Spanish for Singers 703-009

Special Topics

Teaching Methodology 633-001

Teaching Methodology - Piano 633-003

Teaching Methodology - Strings 633-002

Teaching Methodology - Voice 633-005

Teaching Methodology - Winds 633-006

Technology for Performers 646-001 646-003

Technology for Performers - Directed 646-004

20th Century Repertoire 703-002

Vocal Coaching 652-001

Vocal Stagecraft 658-001

INDEX OF COURSES

57

ADMINISTRATIVE STAFF DIRECTORY The Glenn Gould School Of The Royal Conservatory of Music

James Anagnoson Dean 416.408.2824 X [email protected]

David Visentin Associate Dean GGS/Dean YAPA 416.408.2824 X 332 [email protected]

Cathy Blewett Managing Director 416.408.2824 X 452 [email protected]

Sandra Walker Registrar 416.408.2824 X 253 [email protected]

Tammi Hensch Financial Aid Officer 416.408.2824 X 353 [email protected]

Sarah Cowan Student Services Manager 416.408.2824 X 322 [email protected]

Tyler Dunham Performance Manager 416.408.2824 X 334 [email protected]

Anna Kajtar Academy Manager 416.408.2824 X 330 [email protected] Room and Scheduling Nancy Raposo Operations Manager 416.408.2824 X 246 [email protected]

Abigail Aylestock Assistant Scheduling Manager 416.408.2824 X 256 [email protected]

RCM Service Desk Inquiries 416.408.2824 X 255 The Royal Conservatory of Music Florence Minz Chairman, RCM Board of Directors

Madame Aline Chretien Honourary Chair, RCM National Advisory Board

Dr. Peter Simon President

Colin Graham Vice President, Administration and Finance

Barbara Sutton Vice President, Development

Wende Cartwright Vice President, Business Development and External Relations

Sean McShane Vice President, Information Technologies James Anagnoson Dean, The Glenn Gould School

David Visentin Dean, Young Artists Performance Academy

Stephen Green Interim Dean, The RCM Community School

Angela Elster Executive Director, Learning Through the Arts The Royal Conservatory of Music, 90 Croatia Street, Toronto, ON M6H 1K9

59

PERFORMANCE DIPLOMA Piano

Orchestral Instruments Voice

ARTIST DIPLOMA PROGRAM Piano

Orchestral Instruments Voice

The Glenn Gould School of The Royal Conservatory of Music is supported by funding from the Government of Canada through the Department of Canadian Heritage’s National Arts Training Contribution Program.

The Glenn Gould School gratefully acknowledges annual support funding through The Ontario Arts Council’s Music Organizations Program.

90 Croatia Street, Toronto, ON M6H 1K9 Tel 416.408.2824 Fax 416.408.3096 [email protected] www.rcmusic.ca/ggs

ggs academic canendar aug 23 07 - 0708

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