MUGS 605 M.Mus. Performance Graduate Colloquium
This program requirement has been designed to allow performance students in the M.Mus. program to pursue professional development opportunities and research seminars according to their own interests. To meet the requirement, students will participate in three professional development workshops or research colloquium/lectures approved by the Department, to be fulfilled in the course of their degree, on topics such as performance, pedagogy, academic teaching, music and sound recording production, copyright, business, grantsmanship, etc.
How do I register?
You register for this course in the first semester of the program and continue until you have completed the requirement. The course registration number is MUGS 605. Students should register for this course only once.
How do I participate in workshops?
You choose a workshop or lecture series from the approved list. Note in advance where there are specific enrolment procedures (e.g., McGill Skillsets) requiring you to pre-register. Before you attend, download the participation form below. At the end of the workshop or lecture series, introduce yourself to the leader of the workshop or the guest lecturer and ask him or her to sign the sheet. Return the sheet within ten days to the Music Graduate Studies office, Room A726A or B. Participation Forms received after this time will not be accepted.
2014-2015 Approved Workshops and Colloquium/Lecture Series
Seminars and workshops offered by the organizations and the specific seminars identified on the following list have been pre-approved. Students are encouraged to check each organization's website regularly as they are routinely updated, as is this website as particular events are announced. Students wishing to attend seminars and workshops not on this list should consult with the Director of Graduate Studies, Prof. Eleanor Stubley, ten days before the event by email, eleanor [dot] stubley [at] mcgill [dot] ca.
September 19 - First mandatory meeting.
Lecture with Professor Tom Beghin. A-832, 4:15 p.m.
- CIRMMT Distinguished Lecture Series or Seminars: www.cirmmt.mcgill.ca/activities/distinguished-lectures or www.cirmmt.mcgill.ca/activities/seminars
See in particular:
- Oct. 16 CIRMMT Distinguished lecture - Tanna Schulich Hall - Thursday, 4:30 p.m.
Marilyn Nonken, NYU Steinhardt, The spectral piano: An ecological inquiry.
The spectral attitude towards musical composition, which emerged in Paris in the mid 1970s but finds precedent in the aesthetics of the late nineteenth and early twentieth centuries, would seek to explore the evolution of timbre in time as the basis for the musical experience. Over the past forty years, it has changed the way composers have approached the piano; as digital technology has transformed the way we understand sound, it has radically changed the way contemporary composers have approached writing for the purely acoustic instrument. An examination of piano works explores the changing and changed attitudes of composer, performer, and listener. This lecture-recital will include full performances of Claude Vivier's Shiraz (1977), Tritan Murail's Territoires de l'oubli (1979), Dominique Troncin's Ciel ouvert (1993), and Joshua Fineberg's Grisaille (2012).
- Feb. 12 CIRMMT Distinguished lecture - Tanna Schulich Hall - Thursday, 4:30 p.m.
Eckart Altenmüeller, Institut für Musikphysiologie und Musiker-Medizin, Germany, Apollo's gist and curse: Acquisition and loss of skilled movements in musicians.
Sensory-motor skills of musicians have some specific qualities: learning begins at an early age in a playful atmosphere. Routines for stereotyped movements are rehearsed for extended periods of time with gradually increasing degrees of complexity. Via auditory feedback, the motor performance is extremely controllable by both performer and audience. All movements are strongly linked to emotions - pleasure or anxiety - processed by the limbic system. These specific circumstances seem to play an important role for plastic adaptation at several levels of the central nervous system.
In the lecture, I focus on the functional and anatomical changes of the sensory-motor regions observed in musicians by modern neuroimaging methods. Plastic adaptations of the auditory as well as the sensory-motor system are not only reflected in functional but also morphological changes. Auditory-sensorimotor integration is accompanied by rapid modulations of neuronal connectivity in the time range of 20 minutes. Finally, dysfunctional plasticity in musicians, known as musicians' dystonia, leads to deterioration of extensively trained fine finger skills. Risk factors for developing focal dystonia and strategies for the treatment and prevention of this condition will be discussed.
Thursday, January 29, 2015 at 8:00 p.m. in Tanna Schulich Hall: Jeremy Chaulk, piano
Friday, March 13, 2015 at 7:00 p.m. in Tanna Schulich Hall: Andrea Stewart, cello
Of specific interest to performers:
Friday, November 28, 2014 at 4:15 p.m. in A832:
Prof. Clemens Hellsberg, Vienna Philharmonic Orchestra, Austria
Richard Strauss and the Vienna Philharmonic
- McGill Skillsets, Teaching and Learning, www.mcgill.ca/skillsets
See in particular:
Nov. 24 Applying & Interviewing (strategic CV & Cover Letter writing for non-academic positions and the interview), Brown Building, Room 3001, 11:00-12:30 p.m.