Academic Calendar 12-13 Draft

1 TABLE OF CONTENTS

Message from the Dean…………………………………………………………………………………… ... 3

Important Dates ...... ……………………………………………………………. 5

Important Notices……………………………………………………………………………………………… 6

Faculty of The Glenn Gould School…………………………………………………………………………. 8

Performance Diploma Program - Overview………………………………………………………………... 9

Performance Diploma Piano Grid…………………………………………………………………………… 10

Performance Diploma Orchestral Instruments Grid……………………………………………………….. 12

Performance Diploma Voice Grid……………………………………………………………………………. 14

Performance Diploma Common Courses all Instruments………………………………………………… 16

Performance Diploma - Additional Piano Courses………………………………………………………… 19

Performance Diploma - Additional Orchestral Instruments Courses……………………………………..20

Performance Diploma - Additional Voice Courses………………………………………………………… 21

Artist Diploma Program - Overview…………………………………………………………………………. 23

Artist Diploma Program - Piano……………………………………………………………………………... 24

Artist Diploma Program - Orchestral Instruments…………………………………………………………. 27

Artist Diploma Program - Voice……………………………………………………………………………… 30

Academic Policies…………………………………………………………………………………………….. 33

Administrative Policies………………………………………………………………………………………...36

Student Code of Conduct…………………………………………………………………………………….. 38

Financial Information………………………………………………………………………………………….. 40

Student Services………………………………………………………………………………………………. 42

Juries, Recitals and Master Classes………………………………………………………………………... 44

Administrative Directory………………………………………………………………………………………. 47

3 MESSAGE FROM THE DEAN

Welcome to the 2012 – 2013 academic year at The Royal Conservatory's Glenn Gould School.

We are all looking forward to another year of classes and performances in our new and highly acclaimed state-of-the-art facility, the TELUS Centre for Performance and Learning. Since returning here in 2008 we have been inspired by its magical blend of old and new and its sheer architectural beauty, and I am sure that each of you will share this inspiration whether you are taking a lesson, attending a class, rehearsing, or practicing.

The Royal Conservatory's new concert hall – Koerner Hall – opened in September 2009, and has proven to be an acoustical gem for performers and audience alike. Koerner Hall has had a major impact on student life, since all of our orchestra concerts, our opera, and events such as the finals of our concerto competition and chamber music competition are held there. In addition Glenn Gould School students have been able to attend a vast array of concerts given in Koerner Hall by many of the world's leading performers.

I look forward to seeing and hearing each of you this year, and you can be sure I will do everything possible to help make your year artistically rewarding.

James Anagnoson Dean The Glenn Gould School

Strengthening Canadian Society

The Royal Conservatory is one of the largest and most respected music education institutions in the world, providing the definitive standard of excellence in curriculum design, assessment, performance training, teacher certification, and arts-based social programs.

The mission of The Royal Conservatory, to develop human potential through leadership in music and the arts, is based on the conviction that the arts are humanity's greatest means to achieve personal growth and social cohesion. The curriculum for the study of music developed by The Conservatory has become Canada's national standard and its broad use has served to bind together the people of the nation with the thread of shared creative experiences.

The over five million alumni of The Royal Conservatory have all enjoyed the many benefits of music study and carried these benefits into subsequent careers as doctors, engineers, lawyers, business leaders, athletes and teachers. Others, such as Glenn Gould, Oscar Peterson, Angela Hewitt, the St. Lawrence String Quartet, and Measha Brueggergosman have achieved international acclaim and defined Canada to the world.

The Royal Conservatory is also a leader in the development of arts-based programs designed to address a range of social issues such as youth at risk, the development of children in their early years, and wellness in seniors. The Conservatory’s Learning Through the Arts® and Living Through the Arts® programs utilize the latest research findings in neuroscience and the social sciences to create practical education programs with specific objectives and quantifiable outcomes.

At its national base, the TELUS Centre for Performance and Learning in Toronto, The Royal Conservatory offers an extensive set of training programs for gifted young artists through The Glenn Gould School and The Young Artists Academy. The Conservatory also presents and produces a wide range of concerts featuring the finest Canadian and international artists in its magnificent performance spaces, Koerner Hall and Maz- zoleni Concert Hall.

The Royal Conservatory has partnered with Carnegie Hall to launch The Achievement Program in the United States. The Achievement Program will promote and expand musical activity and make the study of music a central part of the lives of all Americans.

Entrenched in the minds and hearts of Canadians, The Royal Conservatory has united generations of citizens since its inception in 1886.

5 IMPORTANT DATES 2012-2013

JULY 2012 1 HOLIDAY - Canada Day FEBRUARY 2013 AUGUST 2012 2 Vocal Showcase 6 HOLIDAY - Civic Holiday 11 - 15 Project Week (RCO 3), classes suspended 11 - 15 Reading Week for pianist and vocalists SEPTEMBER 2012 18 Holiday - Family Day 3 Holiday - Labour Day 19 - 22 Reading Week for instrumentalists 4 - 5 RCO Auditions 19 - 22 Staging Week for Opera participants 10 Deadline - first semester tuition 10 Fall semester classes begin MARCH 2013 21 Fall recital request deadline 11 - 13 Classes as scheduled 29 Nuit Blanche 14 - 15 Project Week (Opera), classes suspended 30 Deadline - add/drop Fall semester courses 18 - 20 Project Week (Opera), classes suspended 21 - 22 Classes as scheduled OCTOBER 2012 29 Holiday - Good Friday 1 - 5 Project Week (RCO 1), classes suspended 31 Holiday - Easter Sunday 8 Holiday - Canadian Thanksgiving 31 Last day to book a recital for 2013 graduation

NOVEMBER 2012 APRIL 2013 16 - 17 Fall Opera 8 - 12 Project Week (RCO 4), classes suspended 26 Project Week (RCO 2), classes suspended 26 Last day of classes (Spring semester) 29 - May 3 Final examinations DECEMBER 2012 (Exam week includes Orchestral Prep Audition, 12 - 13 Concerto Competition Voice Mock Auditions and first year Juries) 14 Last day of Classes 17 - 21 Mid term and/or final Fall semester examinations MAY 2013 and Orchestral Prep Auditions 20 Holiday: Victoria Day 22 - 31 Holiday— Seasonal Break 31 Deadline for completion of all recitals

JANUARY 2013 1 - 6 Holiday— Seasonal Break 7 Deadline - second semester tuition 7 Spring semester classes begin CLASS REGISTRATION INFORMATION

28 Deadline - add/drop Spring semester courses  The academic year is comprised of 32 weeks: 28 Deadline - drop Full-year courses 24 Weeks of Classes/26 Weeks of Applied Study 2 Weeks of academic exam periods (end of each semester)  Fall Semester Classes begin: Monday, September 10, 2012  Fall Semester Classes end: Friday, December 14, 2012  Mid Term or Final Examinations: December 17-21, 2012  Spring Semester Classes begin: Monday, January 7, 2013  Spring Semester Classes end: Friday, April 26, 2013  Final Examinations: April 20-May 3, 2013  The academic year ends on April 30, 2013

IMPORTANT NOTICES

The Academic Calendar of The Glenn Gould School (GGS) is published in both online and printed editions. Every effort has been made to ensure the compatibility of both versions. In the case of any discrepancy, the online version 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 and courses that this Calendar lists and describes are available for the academic year(s) to which the Cal- endar applies. These programs and courses may not necessarily be available in subsequent 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 these rules, regulations, and policies cited in the Calendar, 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. 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 repro- duction 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.

STUDENT I.D. NUMBER Each student at The Royal Conservatory is assigned a unique identification number. This number is confidential. The Conservatory, through The Glenn Gould School, strictly controls access to Student I.D. numbers. The GGS assumes and expects that all students will protect the confidentiality of their Student I.D.

NOTICE OF COLLECTION CONCERNING FREEDOM OF INFORMATION AND PROTECTION OF PRIVACY

The Royal Conservatory 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 Priva- cy 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 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.

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

Bassoon Cello Clarinet Flute Fraser Jackson Andrés Díaz* Joaquin Valdepeñas Susan Hoeppner Nadina Mackie Jackson David Hetherington Leslie Newman John Kadz Double Bass Kathleen Rudolph * The Koerner Chair in Cello at The Royal Jeffrey Beecher Nora Shulman Conservatory

Harp Horn Oboe Percussion Judy Loman Neil Deland Keith Atkinson David Kent Christopher Gongos Richard Dorsey John Rudolph Sarah Jeffery Piano Trombone Violin Voice James Anagnoson Jeffrey Hall (bass) Atis Bankas Stephanie Bogle Marc Durand Gordon Wolfe Marie Bérard Joel Katz Leon Fleisher* Paul Kantor Jean MacPhail Leslie Kinton Trumpet Erika Raum Roxolana Roslak David Louie Andrew McCandless Barry Shiffman Donna Sherman Marietta Orlov Mayumi Seiler Monica Whicher John Perry Tuba Li Wang Sasha Johnson Viola * Guest faculty Steven Dann

Acting and Stagecraft Humanities Master Class Music Theory and History

Stephanie Bogle Burke Cullen Coordinators Dean Burry Tom Diamond Andrew Kwan James Anagnoson Chris Foley Joel Katz William Littler David Kent Julia Galieva Szokolay Leon Major* Andrew McCandless Joel Katz Jayne Smiley Languages and Roxolana Roslak Janet Lopinski Jennifer Tarver Vocal Study John Rudolph Andrew Markow * Guest faculty Tom Diamond Kathleen Rudolph Patrick Jordan

Chris Foley Barry Shiffman Kathleen Rudolph Alexander Technique Brahm Goldhamer Paul Widner R. Murray Schafer Tanya Bénard Joel Katz George Thurgood

Jean MacPhail Music Pedagogy Peter Tiefenbach Collaborative Piano Richard Mehringer James Anagnoson Peter Longworth Jason Nedecky Joel Katz Music Technology Jennifer Tung Jurgen Petrenko Andrew Markow Michael White Virginia Weckstrom Roxolana Roslak Katharine Rapoport

Guillermo Silva-Marin Kathleen Rudolph New Music Ensemble Conducting Katerina Tchoubar Brian Current Uri Mayer Peter Tiefenbach

Monica Whicher Vocal Coaching Historical Performance Rachel Andrist John Abberger Brahm Goldhamer Ann Monoyios Peter Tiefenbach Charlotte Nediger Jennifer Tung

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 in- tensely 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 completion of the Performance Diploma Program graduates are accorded with the Perfor- mance Diploma. Some courses are offered in alternate years only. It is advised that students follow the prescribed yearly course selection found at the beginning of each discipline so that all mandatory courses can be obtained. Students are advised of the specific 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 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 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 credits; 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 Tel: 250.852.6442 Toll-free (Canada):1.800.663.1663 ext. 6442 Email: [email protected]

The Glenn Gould School Jeremy Trupp, Registrar Tel: 416.408.2824 ext. 258 Fax: 416.408.5025 Email: [email protected]

10 PERFORMANCE DIPLOMA PROGRAM Piano

The Royal Conservatory 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/Collegium (600-003) 3

Sonata Repertoire Strings (645-002) 2 2

Sonata Repertoire Winds/Brass (645-005) 2

Collaborative Piano: Voice (645-004)* 2

Chamber Music (667-001) 3 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

Introductory Conducting and Score Reading (607-004) (elective) (2)

Lower Level Upper Level MUSIC MATERIALS Materials 1 - Rhythmic Practices (627-020) (1.5)

Materials 1 - Theory (627-002) 3

Materials 2 - Theory (627-001) 3

Materials 3 - Theory (627-008) 4

Materials 1 - Keyboard Harmony (623-007) 1.5

Materials 2 - Keyboard Harmony (623-005) 1.5 Materials 1 - Aural Skills (627-010) 1.5

Materials 2 - Aural Skills (627-014) 1.5

Introduction to Music History (618-008) 4

Music History - Bibliography (618-005) 1

Music Literature 1 - ca. 1600 to 1890 (625-027)* 3

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

Music History - 20th and 21st Centuries (618-011) 4

Canadian Repertoire (627-019) 3

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

Art History Courses - Any two (621-016, 621-017, 621-018, 621-019)* 3

German 100 (621-010)* (3) Italian 100 (621-013)* (3)

Research Methodology (621-011) 1

Credits Per Year 25 31 32 28

Total Credits Required for PDP - Piano: 116

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

* indicates course offered in alternating years, ( ) Credits indicated in parentheses are elective courses Total General Education Requirements 15 Total Credits Required for TRU-OL Bachelor of Music degree option (Piano) 131

12 PERFORMANCE DIPLOMA PROGRAM Orchestral Instruments

All PDP Orchestral Instruments co-requisite: Royal Conservatory Grade 6 Piano Examination

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 - Strings (626-001), Woodwinds (626-003), Brass (626-004), 2 2 2 Harp (626-008), Percussion (626-007)

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 (633-001/633-002 (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

Sonata Repertoire—Winds/Brass (645-005) 2

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

Chamber Music - Woodwinds/Harp/Percussion (667-002), Brass (667-004) 3 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) ,Woodwinds(619-006) 2

Lower Level Upper Level MUSIC MATERIALS Materials 1 - Rhythmic Practices (627-020) (1.5)

Materials 1 - Theory (627-002) 3

Materials 2 - Theory (627-001) 3

Materials 3 - Theory (627-008) 4

Materials 1 - Keyboard Harmony (623-007) 1.5

Materials 2 - Keyboard Harmony (623-005) 1.5

Materials 1 - Aural Skills (627-010) 1.5

Materials 2 - Aural Skills (627-014) 1.5

Introduction to Music History (618-008) 4

Music History - Bibliography (618-005) 1

Music Literature 1 - ca. 1600 to 1890 (Strings 625-028 or Winds 625-030)* 3

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

Music History - 20th and 21st Centuries (618-011) 4

Canadian Repertoire (627-019) 3

HUMANITIES STUDIES

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

Art History Courses - Any two (621-016, 621-017, 621-018, 621-019)* 3

German 100 (621-010)* (3)

Italian 100 (621-013)* (3)

Research Methodology (621-011) 1 Approximate Credits Per Year for PDP Orchestral 24 32 31 32

Graduation Credits Required for PDP Strings (119), Percussion (119.5), Brass & Harp (120), Woodwinds (122)

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

* indicates course offered in alternating years, ( ) Credits indicated in parentheses are elective courses

Total General Education Requirements 15 Total Credits Required for TRU-OL Bachelor of Music degree option (Orchestral) Strings (134), Percussion (134.5), Brass & Harp (135), Woodwinds (137)

14 PERFORMANCE DIPLOMA PROGRAM Voice

All PDP Voice co-requisite: Royal Conservatory Grade 6 Piano Examination

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 (626-002) 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 (633-001/633-005)* 2

PERFORMANCE STUDIES - VOICE Choir/Collegium (600-003) 3 Vocal Coaching (657-001) 2 2 2 2 Vocal Stagecraft (658-001 - Yr 1) (658-002- Yr 2) (658-001 - Yr 3) 2 2 2 Opera - Scene Study (817-001) 2 English Diction 1 & 2 (608-001 & 608-005) * 4 Italian Diction (608-008)* 2 French Diction (608-007)* 2 German Diction (608-004)* 2 Art Song/Operatic Repertoire (597-001, 597-002, 597-003, 597-004)* 3 3 Sight Singing (644-004)* 2 2 Historical Performance Practices (619-003)* 2 Introductory Conducting and Score Reading (607-004) (elective) (2)

Lower Level Upper Level MUSIC MATERIALS Materials 1 - Rhythmic Practices (627-020) (1.5)

Materials 1 - Theory (627-002) 3

Materials 2 - Theory (627-001) 3

Materials 3 - Theory (627-008) 4

Materials 1 - Keyboard Harmony (623-007) 1.5

Materials 2 - Keyboard Harmony (623-005) 1.5

Materials 1 - Aural Skills (627-010) 1.5

Materials 2 - Aural Skills (627-014) 1.5

Introduction to Music History (618-008) 4

Music History - Bibliography (618-005) 1

Music Literature 1 - ca. 1600 to 1890 (625-029) 3

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

Music History - 20th and 21st Centuries (618-011) 4

Canadian Repertoire (627-019) 3

HUMANITIES STUDIES English 100—Literature and Composition (621-004) 3

Art History Courses - Any two (621-016, 621-017, 621-018, 621-019)* 3

German 100 (621-010)* 3

Italian 100 (621-013)* 3

French 100 (621-014)* 3

Research Methodology (621-011) 1

Credits Per year for Performance Diploma 34 39 29 30 Credits Required for PDP - Vocal Graduation: 132

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

* indicates course offered in alternating years, ( ) Credits indicated in parentheses are elective courses

Total General Education Requirements 15 Total Credits Required for TRU-OL Bachelor of Music degree option (Vocal): 147

APPLIED STUDIES - ALL INSTRUMENTS MATERIALS 1 – KEYBOARD HARMONY (623-007) 1.5 credits Instructor – Julia Galieva Szokolay APPLIED MUSIC Music reading and related aural skills are developed through the 3 credits practice and application of sight-reading techniques and ear-training Each student receives 1.5 hours of private instruction per week, the procedures. This course includes singing and/or identification of equivalent of 39 hours per academic year. Those students whose scales, intervals, and chords, aural analysis of simple harmonic major instrument is not piano must successfully complete an Royal progressions, sight singing of simple rhythms and melodies. Conservatory Grade 6 Piano examination or equivalent prior to grad- Co-requisites - Materials 1 - Theory (627-002), uation (www.rcmexaminations.org). Students may use up to 30 Aural Skills (627-010) minutes of their private lesson time in the study of a secondary instrument, or towards the preparation of their Grade 6 Piano require- MATERIALS 1 – AURAL SKILLS (627-010) ment. First year students perform a juried evaluation in the Spring. 1.5 credits Jury marks represent 40% of the first year applied music mark. Instructor – Julia Galieva Szokolay Students are required to practice a minimum of 2 hours per day. Sight-singing, ear training, and dictation exercises pertaining to rhythm, intervals, scales, melodies, cadences, and progressions RECITAL employed in major-minor tonality. Year 1 639-003 (elective) Co-Requisites – Materials 1 – Theory (627-002), Keyboard Har- Year 2 639-004 (2 credits) mony (623-007) Year 3 639-005 (3 credits) Year 4 639-006 (4 credits) MATERIALS 2 – THEORY (627-001) Students in first year are encouraged, but not required, to perform a 3 credits non-credit recital. The decision to perform a recital in first year would Instructor – Julia Galieva Szokolay be made in consultation with the private teacher. Students must A study of the classical principles of form and composition with par- perform a public recital in the second, third and fourth years of the ticular attention devoted to variations, rondo, sonata allegro, concer- program. to, and symphony, focusing on their development during the 18th and 19th centuries. Works performed by the RCO will be incorporated MASTER CLASS into the curriculum. Strings (626-001) Paul Widner Pre-requisites – Materials 1 – Theory (627-002), Keyboard Har- Voice (626-002) Roxolana Roslak mony (623-007), Aural Skills (627-010) Woodwinds (626-003) Kathleen Rudolph Co-requisites – Materials 2 – Keyboard Harmony (623-005), Brass (626-004) Andrew McCandless Aural Skills (627-014) Piano (626-006) James Anagnoson Percussion (626-007) John Rudolph MATERIALS 2 – KEYBOARD HARMONY (623-005) Harp (626-008) Judy Loman 1.5 credits 2 credits Instructor – Julia Galieva Szokolay Frequent master classes are given by international artists and by our Harmonization of figured bass, sight reading in score form of 3 to 5 own faculty. Please note that student performance opportunities are parts using C clefs and some transpositions, secondary dominants, at the discretion of the visiting artist, the Master Class Coordinator, and modulation using pivot chords. the private teacher, and the Dean. The Master Class Schedule will Pre-requisites – Materials 1 – Theory (627-002), Keyboard Har- be available at the beginning of the school year. Updates and chang- mony (623-007), Aural Skills (627-010) es will be posted regularly outside Glenn Gould School Administra- Co-requisites – Materials 2 – Theory (627-001), Aural Skills 2 tive Offices. (627-014) Note - Master Class is compulsory in Years 2, 3 and 4. MATERIALS 2 – AURAL SKILLS (627-014) MUSIC MATERIALS - ALL INSTRUMENTS 1.5 credits Instructor – Julia Galieva Szokolay MATERIALS 1 – THEORY (627-002) Sight-singing, ear training, and dictation exercises pertaining to 3 credits rhythm and polyrhythm, intervals and scales, and chromatic melo- th Instructor – Julia Galieva Szokolay dies and progressions characteristic of music from the 19 century to A study of basic tonal harmony, instrumentation, composition, and the present. counterpoint with additional emphasis on simple structural forms. Pre-requisites – Materials 1 – Theory (627-002), Keyboard Har- Students compose for class performance inventions, songs, and mony (623-007), Aural Skills (627-010) instrumental pieces. Works are analyzed from the Baroque period Co-Requisites – Materials 2 – Theory (627-001), Keyboard Har- and from repertoire performed by the RCO. Dictation exercises mony (623-005) include intervals, triads, melodies, harmonic progressions, and rhythms. MATERIALS 3 – THEORY (627-008) Co-requisite – Materials 1 – Keyboard Harmony (623-007), Aural 4 credits Skills (627-010) Instructor: Julia Galieva Szokolay A study of chromaticism in tonal and post-tonal music with special th th emphasis on 19 and early 20 century forms and compositional techniques. Instrumental and vocal works are discussed prior to

17 assignments in analysis and composition. Aspects of orchestration PERFORMANCE STUDIES - ALL INSTRUMENTS will include scoring short piano excerpts and devising piano reduc- tions. Dictation exercises include chromatic melodies, typical harmonic progressions, and modulations. Works performed by the RCO TECHNOLOGY FOR PERFORMERS (646-001 or 646-003) will be incorporated and discussed. 2 credits Pre-requisites – Materials 2 – Theory (627-001), Keyboard Har- Instructor – Michael White mony (623-005), Aural Skills 1 (627-014) Students will acquire proficiency in those computer and new media tools useful for a career as a professional musician. Topics covered INTRODUCTION TO MUSIC HISTORY (618-008) will include: electronic press kits, internet, music sequencing, hard 4 credits disc recording and editing, CD mastering and creation. Students will Instructor – Janet Lopinski be expected to apply lessons learned in the course toward the com- An introduction to a diverse range of repertoire and the cultural, pletion of assignments in lab work between sessions. technological, and stylistic contexts from which it emerged. Pre-requisite – Materials 1 – Theory (627-002) Pre-requisite – None TECHNOLOGY FOR PERFORMERS - MUSIC HISTORY - BIBLIOGRAPHY (618-005) DIRECTED STUDY (646-004) 1 credit 1 credit Instructor – Janet Lopinski Advisor – Michael White Practical work in library and internet research methods and Using the tools learned in Technology for Performers, students will bibliography. select their own course of study, i.e. creating Web pages, tapes, CDs Pre-requisite – None or electronic media packages. Co-requisite – Introduction to Music History (618-008) Pre-requisite – Technology for Performers (646-001 or 646-003)

MUSIC HISTORY - 20th and 21st Centuries (618-011) COMMUNICATIONS – MUSIC & COMMUNITY (602-002) 4 credits 3 credits Instructor – R. Murray Schafer Instructor – Andrew Kwan A course for students in their graduating year which covers the music Students will explore the meaning of art, its relation to each individu- of the 20th and 21st centuries al, the artist, audience, and concert, and then apply performance/ Pre-requisites – Introduction to Music History (618-008), Music psychological aspects in a practicum with the Toronto community. Literature 1 (625-027), Music Literature 2 (625-022) 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 per- MUSIC LITERATURE 1 (ca.1600 to 1890) form concerts in schools, concert halls, as well as in hospitals, pris- Piano/Harp/Percussion (625-027) Andrea Botticelli ons, and other less-fortunate settings. Strings (625-028) Patrick Jordan Pre-requisite – Completed 2nd year Voice (625-029) Joel Katz, Chris Foley Winds/Brass (625-030) Kathleen Rudolph CAREER MANAGEMENT (598-001) 3 credits 1 credit A study of styles and works for the student’s principal area of applied Instructor – Andrew Kwan study from ca. 1600-1890. Designed specifically to prepare the music student for the complex Pre-requisite – Introduction to Music History (618-008) demands of a performing career, this course facilitates the learning of business, writing, marketing, and negotiation skills. Course relies MUSIC LITERATURE 2 (1890 to present) on the expertise of professionals in the field. Piano/Harp/Percussion (625-022) Andrew Markow Pre-requisite – Completed 2nd year Strings (625-023) Patrick Jordan Voice (625-026) Joel Katz PERFORMING ARTS CRITICISM (621-003) Winds/Brass (625-024) Kathleen Rudolph 3 credits 3 credits Instructor – William Littler A study of styles and works for the student’s principal area of applied Students attend performances and submit reports and reviews for study from ca. 1890 to the present. class discussion no later than 48 hours after the event. Critical mod- Pre-requisite – Introduction to Music History (618-008) els will be examined. Pre-requisite – Completed 2nd year CANADIAN REPERTOIRE (627-019) 3 credits *PERFORMANCE AWARENESS (636-002) Instructor – Dean Burry 2 credits An in depth study of Canadian compositions in a variety of genres Instructor – Dr. John Chong and styles; links to developments in Canadian art and literature will Students learn the basic concepts of the artists’ psychophysiology be noted. Each student will investigate extensively at least two and ergonomic risk factors for injury and disease. Study is focused works; this research will culminate in substantial papers and when on how to identify problems related to the performance activities of feasible, performances---one of these works should be a composition motor control, autonomic regulation, and lifestyle. the student believes has been unjustly overlooked and for which s/he Pre-requisite – Completed 1st year can be a persuasive advocate. Pre-requisite – Materials 2 – Theory (627-001)

*TEACHING METHODOLOGY (633-001) *GERMAN 100 (621-010) 1 credit 3 credits Instructor – James Anagnoson Instructor – Richard Mehringer Topics will include cognitive psychology, unlocking each student's An introduction to the German Language. potential through neuro-linguisitic programming, developmental issues, and methods to inspire and motivate students. *ITALIAN 100 (621-013) Pre-requisite – Completed 2nd year 3 credits Instructor – TBA *TEACHING METHODOLOGY An introduction to the Italian Language. Strings (633-002) Katharine Rapoport Piano (633-003) Andrew Markow Research Methodology (621-011) Voice (633-005) Joel Katz 1 credit Woodwinds/Brass/Percussion (633-006) Kathleen Rudolph Instructor – TBA 1 credit This course builds a framework to assist first-year students in the A continuation of Teaching Methodology (Fall). In the 2nd semester, identification and evaluation of internet-based music materials and Royal Conservatory faculty and guest artists will act as Coordinators sources. Students will acquire tools and strategies to aid them in to deliver further topics such as Elements of Style, Sound Produc- critical thinking as they develop their abilities to write about music. tion, and Concert/Audition/Festival preparation. Pre-requisite – Teaching Methodology (633-001) ELECTIVE STUDIES - ALL INSTRUMENTS ACADEMIC STUDIES - ALL INSTRUMENTS MATERIALS 1 – RHYTHMIC PRACTICES (627-020) ENGLISH 100 – Literature and Composition I (621-004) 3 credits 3 credits Instructor – David Kent Instructor – Burke Cullen A study of rhythm from both western and non-western music sys- This basic literature and composition course is split equally between tems. Students will strengthen their own rhythmic understanding and a thorough review of the mechanics of writing and an introduction to skills in performance. Required for Percussionists only. 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, **ENGLISH 101 – Poetry & Drama (621-009) students will read approximately 20 short stories, one novella and a 3 credits novel. Instructor – Burke Cullen Pre-requisite – Grade 12 English or equivalent One of the central themes of the first six weeks of the course is the relationship between poetry and music. Students study both formal *ART HISTORY - PREHISTORY TO 1400 (621-016) poetic practices and conventions of free verse. Three plays are 1.5 credits studied in the second half of the course. Students examine the Instructor – TBA principles of both tragedy and comedy and are asked to consider A contextual survey of representative art and architecture ranging staging techniques, characterization, and social issues. from prehistorica through 1400. Pre-requisite – English 100 (621-004) or equivalent Pre-requisite – None

*ART HISTORY - RENAISSANCE & BAROQUE (621-017) **Note: English 101 is offered for Bachelor of Music degree students. 1.5 credits Students enrolled in English 101 must pay an additional tuition fee of Instructor – TBA $600.00 A contextual survey of representative Renaissance and Baroque art and architecture. Pre-requisite – None

*ART HISTORY - 18TH AND 19TH CENTURY (621-018) 1.5 credits Instructor – TBA A contextual survey of representative 18th and 19th centuries art and architecture. Pre-requisite – None

*ART HISTORY - MODERN ERA & CONTEMPORARY (621-019) 1.5 credits Instructor – TBA A contextual survey of representative modern era and contemporary art and architecture. Pre-requisite – None

Co-requisite – Materials 3 –Theory (627-008) PIANO KEYBOARD HARMONY 4 – JAZZ (623-009) 2 credits Additional Required Courses Instructor – George Thurgood Students play and improvise 12-bar blues, and practice exercises in for the Diploma in a wide variety of progressions and styles. Mini-survey of styles from PERFORMANCE STUDIES ragtime to modern jazz. Course includes pairs and group work. Pre-requisite – Materials 2 – Theory (627-001)

CHOIR/COLLEGIUM (600-003) *HISTORICAL PERFORMANCE PRACTICES 3 credits KEYBOARD (619-001) Instructor – Jennifer Tung 2 credits Students explore vocal ensemble works of various centuries. Instructor - Charlotte Nediger Pre-requisite – None A study of tempo, rhythm, phrasing, articulation, ornamentation, and dynamics in keyboard music of J.S. Bach, Domenico Scarlatti, and SONATA REPERTOIRE Strings (645-002) C.P.E. Bach. 2 credits Pre-requisite - Completed 2nd Year Instructor – Peter Longworth, Virginia Weckstrom Students prepare and perform standard sonata repertoire for piano INTRODUCTORY CONDUCTING and one instrument. NOTE: All efforts will be made to accommodate AND SCORE READING (607-004) assignments and student interests in Sonata Repertoire. 2 credits Pre-requisites - Piano Duos (638-001) Instructor – Uri Mayer A study of basic conducting techniques including score-reading, SONATA REPERTOIRE Winds/Brass (645-005) score preparation, baton technique, and rehearsal skills. 2 Credits Pre-requisite – Completed 1st year of RCO (630-001), or by per- Instructor – Virginia Weckstrom mission of instructor Students prepare and perform standard sonata repertoire for piano and one instrument Pre-requisite—None

*COLLABORATIVE PIANO: VOICE (645-002) 2 credits Instructor – Jennifer Tung Students prepare and perform standard song repertoire for piano and voice. Pre-requisites - Piano Duos (638-001)

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 Glenn Gould School Faculty and guest artists. NOTE: All efforts will be made to accommodate assignments and student interests in Chamber Music. Pre-requisite – None

PIANO DUOS (638-001) 2 credits Instructor – James Anagnoson 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)

ORCHESTRAL REPERTOIRE (515-008) ORCHESTRAL INSTRUMENTS Instructors – Various 2 credits Standard orchestral excerpts are studied in instrumental, sectional, Additional Required Courses and full orchestra settings. Prep auditions, reading sessions, and excerpt classes with guest artists augment classroom work. for the Diploma in Pre-requisite – Completed 2nd year of RCO (630-001) PERFORMANCE STUDIES *HISTORICAL PERFORMANCE PRACTICES – Strings (619-002) 2 credits ROYAL CONSERVATORY ORCHESTRA (630-001) Instructor – TBA 4 credits A study of styles and techniques of performance practice of music The Royal Conservatory Orchestra, under the baton of guest con- composed between ca. 1590-1740 using historical treatises and ductors, performs representative works from the orchestral reper- Baroque techniques specific to the student’s instrument. toire. Pre-requisite—Completed 2nd year Pre-requisite – Placement audition in September and other auditions as scheduled HISTORICAL PERFORMANCE PRACTICES – Woodwinds (619- 006) ROYAL CONSERVATORY OPERA ORCHESTRA (630-003) 2 credits 4 credits Instructor – John Abberger The Royal Conservatory Opera Orchestra performs annually as part A study of styles and techniques of performance practice of music of the Opera Workshop. composed between ca. 1590-1740 using historical treatises and Baroque techniques specific to the student’s instrument. SONATA REPERTOIRE - Strings (645-002) Pre-requisite – Completed 2nd year 2 credits Instructor – Peter Longworth, Virginia Weckstrom MATERIALS 1 – RHYTHMIC PRACTICES (627-020) Students prepare and perform standard sonata repertoire for piano 3 credits and one instrument. Sonata Repertoire is a requirement for Strings Instructor – David Kent only. NOTE: this Course is not required of Double Bass students A study of rhythm from both western and non-western music sys- Pre-requisites - None tems. Students will strengthen their own rhythmic understanding and skills in performance. Required for Percussionists only. CHAMBER MUSIC Strings (667-001) Paul Widner Woodwinds (667-002) Kathleen Rudolph Brass (667-004) Gordon Wolfe 3 credits Students prepare and perform chamber music. Regular chamber music coaching is provided. The performance class is taught by Glenn Gould School Faculty and guest artists. NOTE: All efforts will be made to accommodate assignments and student interests in Chamber Music. 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)

*FRENCH DICTION (608-007) VOICE 2 credits Instructor – Jason Nedecky French diction is studied with written and sung examples from the Additional Required Courses song and operatic repertoires. Pre-requisite – Completed 1st year for the Diploma in PERFORMANCE STUDIES *FRENCH 100 (621-014) 3 credits Instructor – Richard Mehringer CHOIR/COLLEGIUM (600-003) Study and application of French language with grammar and written 3 credits work. Instructor – Jennifer Tung Students explore vocal ensemble works of various centuries *GERMAN DICTION (608-004) Pre-requisite – None 2 credits Instructor – TBA VOCAL COACHING (657-001) German diction will be studied with written and sung examples from 2 credits the song and operatic repertoires. A private instruction forum for specific problems that the student may encounter with any repertoire, focusing on development of expres- *GERMAN 100 (621-010) sion, emotional content, and presentation in singing. 3 credits Pre-requisite – None Instructor – Richard Mehringer Study and application of the German language with grammar and VOCAL STAGECRAFT (658-001 – Year 1, 658-002 Year 2, 658- written work. 003 Year 3) 2 credits OPERA – SCENE STUDY (817-001) Instructors – Jennifer Tarver, Tom Diamond 2 credits Group work in practical exercises dealing with body awareness, Instructor – TBA concentration, simple co-ordination between physical and mental This ensemble provides a special opportunity for singers to study skills, and improvisatory techniques. An in-class performance incor- and perform opera excerpts in production. Participants will broaden porates these techniques. their experience, develop their vocal technique further through en- Pre-requisite – None countering appropriate vocal material, and learn new repertoire. Their ability to handle professional level stage work will be signifi- *ENGLISH DICTION 1 (608-001) cantly strengthened. 2 credits Pre-requisite – Vocal Stagecraft (658-003) or by permission of Instructor – Jean MacPhail the instructor The introduction of the International Phonetic Alphabet as a tool for learning the basics of pronunciation. English diction and repertoire *ART SONG/OPERATIC REPERTOIRE – are the focus. 20th Century Art Song (597-001) Pre-requisite – None 1.5 credit Instructor – Roxolana Roslak *ENGLISH DICTION 2 (608-005) Collaborative Pianist – Brahm Goldhamer 2 credits Offers singers and pianists an intensive study of the modern Art Instructor – Jean MacPhail Song Repertoire, allowing for emphasis on the relationship between Continued study and application of English language with grammar poetic text and music. and written work. Pre-requisite – Completed 2nd year Pre-requisite – English Diction 1 (608-001) *ART SONG/OPERATIC REPERTOIRE – *ITALIAN DICTION (608-008) Oratorio (597-002) 2 credits 1.5 credit Instructor – TBA Instructor – TBA Italian diction will be studied with written and sung examples from the Collaborative Pianist – Brahm Goldhamer song and operatic repertoires. A study of the Oratorio repertoire, allowing for emphasis on the rela- Pre-requisite – None tionship between poetic text and music. Pre-requisite – Completed 2nd year *ITALIAN 100 (608-013) 3 credits Instructor – TBA Study and application of the Italian language with grammar and written work. Pre-requisite—None

*ART SONG/OPERATIC REPERTOIRE - French Art Song (597-003) 1.5 credit Instructor – Jason Nedecky Collaborative Pianist – Brahm Goldhamer 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 Instructor – Monica Whicher Collaborative Pianist – Brahm Goldhamer 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 – Completed 2nd year

*SIGHT SINGING (644-004) 2 credits Instructor – Jennifer Tung In conjunction with Collaborative Piano: Voice, students learn song repertoire of varying styles.

*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

23 ARTIST DIPLOMA PROGRAMS

 Disciplines: Piano, Voice, All Orchestral Instruments  Program Length: 2 years  Admissions requirements: Bachelor of Music degree or equivalent 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.

24 ARTIST DIPLOMA PROGRAM Piano

Established in 2006 by Royal Conservatory Alumni Ian Ihnatowycz and Marta Witer, The Ian Ihnatowycz Piano Scholars Pro- gram 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 Ihna- towycz 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.

The Royal Conservatory has joined in partnership with British Columbia Open University to offer a BACHELOR OF MUSIC DEGREE

REQUIRED COURSES AND RECOMMENDED SEQUENCE

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 (638-002) or New Music Ensemble (511-001) or Historical Performance 3 Practices - Keyboard (620-003)*

Chamber Music - Chamber Music (667-005) or Sonata Repertoire (711-002) 4.5

OTHER STUDIES

Graduate Communications Seminar (603-002) 3

Graduate Theory Review (860-001) 3

OPTIONAL COURSES

Performance Awareness (800-001)* (2)

Performing Arts Criticism (621-003) (3) Career Management (671-002) (1)

* indicates course offered in alternating years, ( ) Credits indicated in parentheses are elective courses

Credits Per Year 25.5 18 Total Credits Required for ADP Piano 43.5

ARTIST DIPLOMA PROGRAM CHAMBER MUSIC (667-005) 4.5 credits Piano Co-ordinator – Paul Widner Students prepare and perform chamber music. Regular chamber APPLIED STUDIES music coaching is provided. The weekly performance class is taught by Glenn Gould School Faculty and guest artists. APPLIED MUSIC Pre-requisite – None 6 credits Each student receives 1.5 hours of private instruction per week, the SONATA REPERTOIRE (711-002) equivalent of 39 hours each academic year. Students are required 4.5 credits to practice a minimum of 6 hours per day. Instructor – Peter Longworth, Virginia Weckstrom Students prepare and perform standard sonata repertoire for piano RECITAL and one instrument. NOTE: Glenn Gould School Administration will 641-004 Year 1, Recital 1 make assignments in Sonata Repertoire. Best efforts will be made 641-005 Year 1, Recital 2 to accommodate student wishes. 641-006 Year 2, Recital 1 Pre-requisite – None 641-007 Year 2, Recital 2 6 credits Artist Diploma pianists must perform two major public recitals in OTHER STUDIES each year of the program for a total of 4 recitals. GRADUATE COMMUNICATIONS SEMINAR (603-002) MASTER CLASS – PIANO (516-001) 3 credits 3 credits Instructor – Andrew Kwan Co-ordinator – James Anagnoson This course features a series of wide ranging lectures, workshops, Weekly master classes are given by international artists and Glenn and seminars that will engage students in the process of embracing Gould School faculty. Please note: Student performance opportuni- their art more deeply, communicating effectively in the community, ties are at the discretion of the visiting artist, the Master Class Coor- and developing the skills needed to manage their careers. Stu- dinator, and the Dean. The Master Class Schedule will be available dents will explore the meaning of art and its role in their lives, as at the beginning of the school year. Updates and changes will be well as in the lives of their audiences. They will be encouraged to posted regularly outside the GGS Administrative Offices. develop their comfort level in communicating in different performance settings. Guests will include dancers, actors, and communications specialists as well as Musicians Association representatives, PERFORMANCE STUDIES Arts Council representatives, performing arts presenters, and health care professionals, who will offer sessions in writing résumés, creat- PIANO DUOS (638-002) ing press kits, marketing and musicians’ health. Students will be 3 credits required to develop and articulate their own personal Mission State- Instructor – James Anagnoson ment, maintain a journal, develop the tools for assessment of the This performance class is devoted to the study of the repertoire for dynamics of performance, speak about their repertoire on their final piano duos and duets. recitals, and participate in various performance initiatives. Pre-requisite – None Pre-requisites – None

NEW MUSIC ENSEMBLE (511-001) GRADUATE THEORY REVIEW (860-001) 3 credits 3 credits Instructor – Brian Current Instructor – TBA This course examines representative twentieth-century ensemble This course reviews basic theoretical concepts; students may test literature, including Canadian works. Students are offered opportu- out of this course by sitting for a diagnostic examination nities to discuss works with the composers wherever possible. Re- Pre-requisite – None sources 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

ELECTIVE STUDIES

*PERFORMANCE AWARENESS (800-001) 2 credits Instructor – Dr. John Chong Students learn the basic concepts of the artists’ psychophysiology and ergonomic risk factors for injury and disease. Study is focused on how to identify problems related to the performance activities of motor control, autonomic regulation, and lifestyle. 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; Concerts and Touring; Developing Ties with your Com- munity; and The Role of the Artist in the 21st Century. Pre-requisite – None

27 ARTIST DIPLOMA PROGRAM Orchestral Instruments

REQUIRED COURSES AND RECOMMENDED SEQUENCE

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 (516-008), Percussion (516-007) 3 3

PERFORMANCE STUDIES

Royal Conservatory Orchestra (630-004) 6 6

Orchestral Repertoire (515-008); Yr 2 not required for Strings 3 3

Chamber Music - Strings (667-005), Woodwinds, (667-006), Brass (667-007) 4.5 4.5

Historical Performance Practices (620-004)*: required only of String students

New Music Ensemble (511-001) 3

Rhythmic Practices (627-022): required only of Percussion students 3

OTHER STUDIES Graduate Communications Seminar (603-002) 3

Graduate Theory Review (860-001) 3

ELECTIVES

Performance Awareness (800-001) (2)

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

Performing Arts Criticism (621-003) (3)

Sonata Repertoire (711-002) (3)

Career Management (671-002) (1) Historical Performance Woodwinds (620-005) * (3)

* indicates course offered in alternating years, ( ) Credits indicated in parentheses are elective courses Total Credits Per Year (Winds/Brass/Strings) 28.5 31.5 Total Credits Per Year (Percussion) 31.5 31.5 Total Credits Required for ADP Orchestral (Brass/Strings/Woodwinds) 60 Total Credits Required for ADP Orchestral (Percussion) 63

ARTIST DIPLOMA PROGRAM NOTE: GGS Administration will make assignments in ensemble classes. Best efforts will be made to accommodate students’ wish- Orchestral Instruments es. Pre-requisite – None APPLIED STUDIES *HISTORICAL PERFORMANCE PRACTICES APPLIED MUSIC 3 credits 6 credits Strings (620-004) – TBA Students will receive 1.5 hours of private instruction each week, the A study of styles and techniques of performance practice of music equivalent of 39 hours per academic year. Up to half of this lesson composed between ca. 1590-1740 using historical treatises and time should be devoted to the preparation of orchestral repertoire. Baroque techniques specific to the student’s instrument. Students are required to practice a minimum of 2-4 hours per day. Pre-requisite – None

RECITAL (641-002—Yr 1) (641-003—Yr 2) NEW MUSIC ENSEMBLE (511-001) 3 credits 3 credits Artist Diploma orchestral students must perform a recital in the first Instructor – Brian Current year and have a choice of performing a recital or participating in a This course examines representative twentieth-century ensemble comprehensive mock audition in the second year. literature, including Canadian works. Students are offered opportunities to discuss works with the composers wherever possible. Re- MASTER CLASS sources such as the Canadian Music Centre will be explored. 3 credits Pre-requisite – Placement in this course is by audition only. Strings (516-008) Paul Widner Auditions will take place in September during the Ensemble Woodwinds (516-009) Kathleen Rudolph Placement Auditions Brass (516-007) Andrew McCandless Harp (516-008) Judy Loman Percussion (516-005) John Rudolph OTHER STUDIES Master classes are given by international artists and by Glenn Gould School faculty. Please note that student performance opportunities *ORCHESTRAL LITERATURE SURVEY (517-001) are at the discretion of the visiting artist, the Master Class Coordina- 3 credits tor, and the Dean. The Master Class schedule will be available at Instructor – Peter Tiefenbach the beginning of the school year. Updates and changes will be post- This course covers the standard orchestral literature from Classical ed regularly outside GGS Administrative Offices. through the 20th century, drawing in part from works being performed by the Royal Conservatory Orchestra and the Toronto Sym- phony Orchestra. Listening, score-study and historical analysis are PERFORMANCE STUDIES major components of this course. Students will become familiar with the setting for their orchestral excerpts both musically and historical-

ly. ROYAL CONSERVATORY ORCHESTRA (630-004) Pre-requisite – None 6 credits

The Royal Conservatory Orchestra, under the baton of guest con- GRADUATE COMMUNICATIONS SEMINAR (603-002) ductors, performs representative works from the orchestral reper- 3 credits toire. Instructor – Andrew Kwan Pre-requisite – None This course features a series of wide ranging lectures, workshops

and seminars that will engage students in the process of embracing ORCHESTRAL REPERTOIRE (515-008) their art more deeply, communicating effectively in the community, 3 credits and developing the skills needed to manage their careers. Stu- Instructors – Various dents will explore the meaning of art and its role in their lives, as This instrument-specific course concentrates on the standard or- well as in the lives of their audiences. They will be encouraged to chestral excerpts required for international professional auditions. develop their comfort level in communicating in different perfor- Students will prepare audition lists, receive regular coaching, and mance settings. Guests will include dancers, actors, and communi- perform two prep auditions per year. Prep auditions are adjudicated cations specialists as well as Musicians Association representatives, by experienced instrumental musicians and/or conductors. Arts Council representatives, performing arts presenters, and health Pre-requisite – None care professionals, who will offer sessions in writing résumés, creat-

ing press kits, marketing, and musicians’ health. Students will be CHAMBER MUSIC required to develop and articulate their own personal Mission State- 4.5 credits ment, maintain a journal, develop the tools for assessment of the Strings (667-005) Paul Widner dynamics of performance, speak about their repertoire on their final Woodwinds (667-006) Kathleen Rudolph recitals, and participate in various performance initiatives. Brass (667-007) Gordon Wolfe Pre-requisites – None Students prepare and perform chamber music. Regular chamber music coaching is provided. The weekly performance class is taught by Glenn Gould School Faculty and guest artists.

GRADUATE THEORY REVIEW (860-001) 3 credits Instructor – TBA This course reviews basic theoretical concepts; students may test out of this course by sitting for a diagnostic examination Pre-requisite – None

ELECTIVE STUDIES

*PERFORMANCE AWARENESS (800-001) Instructor – Dr. John Chong Students learn the basic concepts of the artists’ psychophysiology and ergonomic risk factors for injury and disease. Study is focused on how to identify problems related to the performance activities of motor control, autonomic regulation, and lifestyle. Pre-requisite – None

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 – None

SONATA REPERTOIRE (711-002) 3 credits Instructor – Peter Longworth, Virginia Weckstrom Students prepare and perform standard sonata repertoire for piano and one instrument. NOTE: Double Bass students are not required to take this class 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 Com- munity; and The Role of the Artist in the 21st Century. Pre-requisite – None

RHYTHMIC PRACTICES (627-022) 3 credits Instructor – David Kent A study of rhythm from both western and non-western music sys- tems. Students will strengthen their own rhythmic understanding and skills in performance. Mandatory for Percussionists

*HISTORICAL PERFORMANCE PRACTICES Woodwinds (619-006) – John Abberger 3 credits 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

30 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 remain- 3 3 ing 3rd course may be taken as an elective.

Opera - Opera Workshop (629-001) 3

20th Century Vocal Repertoire (703-002) 3

Advanced Techniques in Operatic Acting (703-016) 3 3

French for Singers (703-014)* 1.5

Italian for Singers (703-013)* 1.5

German for Singers (703-012)* 1.5

OTHER STUDIES

Graduate Communications Seminar (603-002) 3

Graduate Theory Review (860-001) 3 ELECTIVES

Spanish for Singers (703-009)* (1.5)

Russian for Singers (703-008)* (1.5)

Performance Awareness (800-001)* (2)

One of remaining: Concert Repertoire (703-006)* or Opera Repertoire (703-001)* or Oratorio (3) Repertoire (703-005)*

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

Career Management (671-002) (1)

* indicates course offered in alternating years, ( ) Credits indicated in parentheses are elective courses Total Credits Per Year 28.5 33 Total Credits Required ADP Voice 61.5

*ORATORIO REPERTOIRE (703-005) ARTIST DIPLOMA PROGRAM 3 credits Voice Instructor – Jurgen Petrenko This course will focus on oratorio repertoire from the Baroque to the present including that of Bach, Handel, Mozart, Brahms, Verdi, APPLIED STUDIES Elgar and Britten. Pre-requisite – None APPLIED MUSIC 6 credits Students will receive 1.5 hours of private instruction each week, the *NOTE: equivalent of 39 hours per academic year. Students are expected to ADP Voice Students are required to select two (2) of: practice a minimum of 2 hours per day. Concert Repertoire (703-006), Opera Repertoire (703-001) and/or Oratorio Repertoire (703-005). The remaining third course may RECITAL also be taken as an elective. 641-008 Year 1 641-009 Year 2, Recital 1 641-019 Year 2, Recital 2 OPERA - OPERA WORKSHOP (629-001) 3 credits each recital 3 credits Students will be responsible for 3 recitals: one recital in the first year Instructors – Peter Tiefenbach, Brahm Goldhamer and two recitals in the second year. One of the second-year recitals This ensemble provides the opportunity for singers to study and may be replaced by a major operatic role, and/or given at an off-site perform an opera in production. location. Pre-requisite – None

MASTER CLASS (516-004) *20th CENTURY VOCAL REPERTOIRE (703-002) 3 credits 3 credits Coordinator – Roxolana Roslak Instructor – Roxolana Roslak Frequent master classes are given by international artists and by our This course will include an overview of the twentieth century reper- own faculty. Please note: Student performance opportunities are at toire for vocalists, approaches to looking at a new score, perfor- the discretion of the visiting artist, the Master Class Coordinator, the mance practice techniques and visits from Canadian composers. private teacher, and the Dean. The Master Class Schedule will be May include performances with the New Music Ensemble. available at the beginning of the school year. Updates and changes Pre-requisite – None will be posted regularly outside of the Glenn Gould School Adminis- trative Offices. ADVANCED TECHNIQUES IN OPERATIC ACTING (703-016) 3 credits VOCAL COACHING (657-001) Instructor – Leon Major 3 credits This course will focus on stage movement for singers as it relates Instructors – Various to operatic performance. Topics to be included: body alignment, A private instruction forum for specific problems that the student may issues of stage deportment including period movement, physical encounter with any repertoire. Voice students will receive 60 minutes approaches to character development, and basic dance technique of private instruction with a vocal coach to develop expression, emo- for singers. tional content and presentation in singing. Pre-requisite – None Pre-requisite: None *FRENCH FOR SINGERS (703-014) 1.5 credits PERFORMANCE STUDIES Instructor – Jason Nedecky French diction and language is studied with examples from the *CONCERT REPERTOIRE (703-006) song and operatic repertoire. 3 credits Pre-requisite – None Instructor – Monica Whicher This course focuses on vocal repertoire, song cycles and music with *ITALIAN FOR SINGERS (703-013) orchestra. 1.5 credits Pre-requisite – None Instructor – TBA Italian diction and language is studied with examples from the song *OPERA REPERTOIRE (703-001) and operatic repertoire. 3 credits Pre-requisite – None Instructor – Brahm Goldhamer This course serves as intense preparation for major operatic roles *GERMAN FOR SINGERS (703-012) from traditional repertoire and the 20th Century. 1.5 credits Pre-requisite – None Instructor— TBA German diction is studied with examples from the song and operatic repertoire. Pre-requisite — None

OTHER STUDIES German, and French repertory; ornamentation and recitatives. Pre-requisite – None GRADUATE COMMUNICATIONS SEMINAR (603-002) 3 credits *CAREER MANAGEMENT (671-002) Instructor – Andrew Kwan 1 credit This course features a series of wide ranging lectures, workshops, Instructor – Andrew Kwan and seminars that will engage students in the process of embracing Students learn how to develop their careers through an introduc- their art more deeply, communicating effectively in the community, tion to the music industry, business writing, marketing, and negoti- and developing the skills needed to manage their careers. Students ation skills. Topics include promotional materials; agents, manag- will explore the meaning of art and its role in their lives, as well as in ers and presenters; concerts and touring; developing ties with your st the lives of their audiences. They will be encouraged to develop their community; and the role of the artist in the 21 century. comfort level in communicating in different performance settings. Pre-requisites – None 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

ELECTIVE STUDIES

*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 – Katerina Tchoubar Russian diction and language is studied with examples from the song and operatic repertoire. 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,

33 1. ACADEMIC POLICIES 1.4 ACADEMIC PROBATION Academic Probation is for a period of one academic year. Students

who fail 2 or more courses in an academic year will be placed on 1.1 DIPLOMA REQUIREMENTS probation in the following year. To qualify for graduation from their program a student must complete all program requirements as stated in the Academic Calendar 1.5 ATTENDANCE published in the student’s first year of admission. Regular and punctual attendance is required at all lessons, clas-

ses, and rehearsals. 1.2 ACADEMIC APPEALS Students who have reason to believe an assignment or examina- 1. Students are required by The Glenn Gould School to be in at- tion grade is inaccurate should immediately contact their instructor. tendance for all classes, master classes, rehearsals, and concerts. If a student is not satisfied with the outcome of this discussion, The maximum allowable number of absences (excused or unex- she/he may contact the Registrar to initiate a Formal Appeal. cused) for a one term course is 3; the maximum allowable number of absences (excused or unexcused) for a full-year course is FORMAL APPEALS 5. 1. Students may initiate a Formal Appeal by submitting a request in 2. Failure to attend the minimum requirements of any class shall writing, together with relevant documentation, to the Office of the seriously affect a student’s grade, and will place the student at risk Registrar within thirty (30) days after the date on which the deci- for probation or dismissal. sion was received. 3. In the case of the Royal Conservatory Orchestra or the Opera, 2. A request for a Formal Appeal should include the following infor- planned absences must be pre-approved by GGS Administration mation: via the Absence Request Form process. Students will be required  A clear and concise statement of the decision which is being to make arrangements for a suitable replacement at their own cost. appealed. 4. Students receiving financial assistance through the Ontario  A chronology of events involved in the appeal, including Student Assistance Program (OSAP) are advised that absence details of attempts to resolve the issue informally. from school for more than one week (five consecutive days) is  The desired outcome. grounds for forfeiture of government funding.  All documentation the applicant wants to be reviewed. Stu- 5. Three or more incidents of late arrival for a given class shall dents who request a review of a decision on work which has constitute one absence. been returned to them must submit the original work with their request. 1.6 PRIOR LEARNING ASSESSMENT AND 3. A Formal Appeal will not be processed if made more than thirty RECOGNITION (30) days after the date on which the decision was received, unless the student explains in writing why she/he was unable to sub- COURSE CHALLENGE mit her/his request within the time limit. The Registrar may, in her/ 1. Course Challenge is a Prior Learning Assessment mechanism his discretion, extend the time limit to request an appeal, or may which enables PDP students to receive credit for specified courses refuse an extension of time and dismiss the request for appeal. by examination, instead of in the classroom. For a list of these 4. The Formal Appeal will be reviewed by the Academic Review courses, please ask the Registrar. Committee. 2. Course Challenge examinations will be scheduled by the Admin- 5. The Academic Review Committee may rescind or alter any istration. previous academic decisions. 3. A “PC” (Passed Challenge) grade is recorded on the student’s 6. The Academic Review Committee, or its designate, will inform permanent record for students who satisfactorily complete a the student of its decision within seven (7) business days of the Course Challenge examination. PC courses will not be included in Academic Review Committee meeting at which the appeal was the GPA. reviewed. 7. In the event the student is not satisfied with the decision made by the Academic Review Committee, the student may submit an CHALLENGE RESTRICTIONS appeal to the Glenn Gould School Appeals Committee of The 1. Students who are registered in a course and have submitted two Royal Conservatory Academic Council whose decision shall be or more assignments or have written the final examination are not final. permitted to write a challenge examination for the course. 8. The Glenn Gould School Appeals committee of the Royal Con- 2. Students are not permitted to challenge a course for which they servatory Academic Council comprises the Chair of the Academic have previously received credit at The Glenn Gould School. Council (or delegate), two GGS Department Coordinators, the 3. Challenge Exams will be administered prior to each semester’s President of the GGS Student Advisory Council (or designate), and deadline date to drop a course. a member of the GGS Administration.

1.3 NON ACADEMIC APPEALS Students wishing to file a non academic appeal should visit the Registrar’s office to obtain a non-academic appeal form.

1.7 GRADING SYSTEM contact the Academic office for details 5. Minimum TOEFL Scores: A+ 90-100 4.33 Distinguished DIPLOMA / DEGREE PROGRAM MINIMUM TOEFL SCORE A 85-89 4.00 First Class *Bachelor of Music degree 550 paper / 213 computer / A- 80-84 3.67 First Class 79-80 internet based

B+ 77-79 3.33 Above Average Performance Diploma - all disciplines 550 paper / 213 computer / 79-80 internet based B 74-76 3.00 Above Average Artist Diploma - Piano 500 paper / 173 computer / B- 70-73 2.67 Above Average 61 internet based Artist Diploma - Orchestral Instruments 500 paper / 173 computer / C+ 67-69 2.33 Average 61 internet based C 64-66 2.00 Average Artist Diploma - Voice 550 paper / 213 computer / 79-80 internet based C- 60-63 1.67 Average

D+ 57-59 1.33 Below Average *This program is offered in partnership with Thompson Rivers University - Open Learning D 54-56 1.00 Below Average

D- 50-53 0.67 Below Average 1.11 GENERAL STUDIES General Studies is a non-diploma status that is available for current F 49 & below 0.00 Failure Glenn Gould students who:

IN Incomplete  In the previous academic year, failed to meet the Minimum Standards as outlined in the Academic Calendar concerning P Pass course failures.  Have finished their diploma but wish to participate in one extra year of training on a reduced course load. 1.8 DEFERRED EXAMINATIONS  Need a reduced course load due to personal or professional A student who is absent from a final examination for medical or reasons. other valid reasons must apply for a deferred examination or Ae- Please Note: This classification is not open to incoming stu- grotat standing through the Registrar. Such application must be dents and is not available for Provincial or Federal Student made within three (3) business days of the missed examination Loan Programs. along with documentary evidence. Eligibility 1.9 DOUBLE MAJOR  This classification is only open to current students who are The Glenn Gould School does not offer a double major; however, Canadian citizens and/or landed immigrants. students in the Performance Diploma Program who pursue serious studies in more than one instrument may, after auditioning for both, Course Load request to take courses in a second area of study, including recit-  General Performance Studies students will be limited to four al, lessons and literature courses. Students who choose to take (4) full year courses and a maximum of 1.5 hours of private lessons beyond the allotted 1.5 hours per week will be charged an instruction. additional fee. Credits earned in this manner will appear on the  The General Performance Studies classification is not full-time, student’s transcript, but not the term “Double Major”. and for that reason, is not open to Visa students.

1.10 ENGLISH LANGUAGE REQUIREMENTS Advanced Standing 1.Test of English as a Foreign Language (TOEFL) scores are  Upon completion of a course is the General Performance required of every applicant whose first language is not English and Studies, the student will receive a Certificate of Completion for are used for the purpose of evaluating applicants for admission. said course. 2 Applicants whose first language is not English, but who have  Students who successfully complete a course within the Gen- completed secondary or post-secondary studies at institutions eral Performance Studies classification may seek advanced where the primary language of instruction is English, may be ex- standing for that course within the Performance or Artist Diplo- empt from TOEFL pending review of transcripts. An interview may ma Programs, provided the minimum grade requirement has be required. been met per Glenn Gould School academic requirements. 3. Applicants who meet a high level in all other standards of admis- The decision to grant advanced standing will be at the discre- sion, but have an English deficiency, may be admitted conditional- tion of the Academic Review Committee ly. 4. MELAB and IELTS testing services are also acceptable. Please  Please note that a student may not receive more than 50% of a Program’s credits in advanced standing.

Length of Study 1.15 TRANSFER CREDIT/ADVANCED  The General Performance Studies classification is limited to STANDING one year of study. 1. Transfer credit is evaluated for all studies taken through an accredited or similarly recognized post-secondary education insti- Cost and Financial Information tution.  Cost for General Performance Studies will be set on an indi- 2. Transfer credit is awarded to all qualifying courses passed with vidual basis and will take into account the then current direct a minimum B- (70-73%) provided that the sending institution is cost per course. recognized by The Glenn Gould School.  Students who are in General Performance Studies due to 3. Students applying for transfer credit must complete an Applica- unsatisfactory academic standards will not be eligible for tion for Transfer Credit Form and submit it to the Office of the Ontario Student Assistant Program (OSAP) or any other Registrar. The applicant must declare all formal studies and ar- provincial loan program, tuition remission, scholarships, range for official transcripts from all previously attended post- bursaries, or Frederick Harris Work Assistantships. secondary institutions at the time of initial application for transfer credit, as well as course descriptions and detailed course outlines for all courses for which the student is applying for transfer credit. 1.12 GRADE POINT AVERAGE (GPA) 4. Authenticated translation is required for official documents sub- The grade point average is the weighted sum of the grade number mitted in a language other than English or French. of courses in which grade points were earned. Courses noted as 5. Credit may be granted on a course-by-course basis or for a transfer credit or PC (Passed Challenge) are not included in the combination of courses. GPA. 1.16 REGISTRATION 1.13 INCOMPLETE (IN) 1. All students seeking course registration for the current academic An IN grade will be given when a student is late in completing year must submit a completed and signed “Course Registration” course work due to professional engagements or sudden medical, form to the Registrar’s Office in accordance with the instructions family, or personal situations. Once the course work has been set out by the Registrar during the annual pre-registration period. completed and a grade has been issued, the IN will be changed 2. A minimum first installment of tuition fees (the 1st Semester accordingly. Students have one month from the close of the se- tuition) must be paid, or fees deferred (through Scholarship or mester to compete all course work. OSAP) by the deadline date specified in the “Important Dates” section of the Calendar in order for a student to be considered 1.14 MINIMUM STANDARDS registered. 1. Artist Diploma Program In order to progress to the next year of study, Artist Diploma stu- 1.17 ADDITION OF A COURSE dents must achieve an overall GPA of 3.00 (B) AND a minimum 1. A student may add a course selection to their academic sched- GPA of 3.67 (A-) in their Applied Music. In addition, they must ule at any time up to the deadline date specified in the “Important obtain at least a GPA of 2.67(B-) on each of their recitals. ADP Dates” section of this Calendar by way of submitting a completed students carrying a GPA between 2.67 and 2.99 will be placed on and signed Course Add/Drop Request form to the Registrar’s academic probation or may be deregistered for one academic Office. year. 2. Performance Diploma Students In order to progress to the next year of study, students must 1.18 WITHDRAWAL FROM A COURSE achieve an overall minimum GPA of 2.00 (C) AND a minimum 1. A student may withdraw from a course by way of submitting a GPA of 3.67 (A-) in their Applied Music. In addition, students must completed and signed Course Add/Drop Request form to the Reg- obtain at least a GPA of 2.67 (B-) on their yearly recitals or 1st year istrar’s Office. jury. Students whose GPA falls below 2.00 (C) will be placed on 2. After the first month of instruction, the student may drop the academic probation or may be de-registered for one academic course freely and without penalty by informing the Registrar. year. 3. At the midterm of any class, the student requires written permission from the instructor to drop the class. NOTE: In order to maintain scholarship, students must main- 4. Students in extreme cases can drop a course immediately be- tain a 75% average (B, 3.0 GPA). fore the final examination by petitioning the Academic Review Committee. Petitions are heard on a case by case basis. 5. All degree and diploma requirements must be met by the student in order to graduate. Dropped courses must be completed at PROGRAM Minimum GPA a later date. All dropped courses must be done in consultation from the Registrar. Performance Diploma 2.00 (C) Overall, minimum 3.67 (A-) in Applied Music, minimum 2.67 (B-) on each recital or 1st year jury 1.19 FAILURE IN A COURSE 1. A student who receives a grade of 49% or less in a given course Artist Diploma 3.00 (B) Overall, minimum 3.67 (A-) in shall be deemed to have failed the course. The student must then Applied Music, and minimum 2.67 (B-) register for and repeat the course at the first opportunity. on each recital. 2. A student who receives 2 academic failures in a year will be placed on Academic Probation.

3. A student who receives a failing grade in three courses in a 2.2 CHANGING PRIVATE TEACHER given academic year will be placed into General Studies. Teacher assignments are made with great care and consideration. Students who wish to change teachers from one academic year to 1.20 REPEATING A COURSE the next must first speak with the Dean and submit to the Registrar 1. A student who receives a grade of 49% or less in a given course a completed Change of Teacher Request Form by May 31. The must repeat the course. If credit is not obtained in the repeated Glenn Gould School will not approve a mid-year change of teach- attempt, the student may undertake one more attempt to achieve ers, except in rare circumstances. the credit. If credit is not obtained in the third attempt, the student will be given the status of “Failed – Refused Further Registration”. 2.3 STUDENT I.D. NUMBER 2. Where possible, a student who has been given the status of Each student at The Royal Conservatory is assigned a unique, “Failed - Refused Further Registration” may appeal to the Academ- confidential identification number. The Royal Conservatory, ic Review Committee for approval to substitute another course in through The Glenn Gould School, strictly controls access to Stu- order to make up the missed credit. In this instance the student dent I.D. numbers. The GGS assumes and expects that students will identify the proposed substitute course, and will provide the will protect the confidentiality of their Student I.D. Committee with a full course outline and syllabus, as well as a written statement of rationale as to how the substitute course will 2.4 DE-REGISTRATION provide a comparable body of knowledge that will satisfactorily The Glenn Gould School may de-register a student if they have meet the student’s program requirements. provided false or incomplete information or if tuition payment has not been honored. 1.21 REPEATING A CREDITED COURSE A student may not repeat a course for credit when a passing grade 2.5 DISCIPLINARY PROBATION has been achieved. However, a student who has achieved credit Students in violation of The Student Code of Conduct, or Academic for a course may enroll in that course in subsequent semester or Administrative policies may be placed on Disciplinary Probation offerings in order to improve their understanding of the subject at any time by the Dean or her/his designate. Students placed on material. Disciplinary Probation are ineligible for future Royal Conservatory scholarships. 1.22 HOME BASED LEARNER POLICY The Glenn Gould School welcomes home based learners and 2.6 DISMISSAL requires that such students supply: Grounds for dismissal include any form of cheating, plagiarism, 1. a document detailing the courses that have been cov- falsification of academic information, or violation of the Student ered in grades 11 and 12 Code of Conduct. Students dismissed at the conclusion of the Fall 2. a statement from your home educator explaining your semester are ineligible to attend The Glenn Gould School for the readiness to handle university level subject matter remainder of the academic year. Students dismissed at the con- 3. a confidential evaluation letter from a third party indicat- clusion of the Spring semester are ineligible to attend The GGS ing your readiness for university level study during the following academic year. The GGS reserves the right to de-register any student whose continued enrollment is considered In addition to these documents, the prospective student must com- detrimental to the interests of The GGS. plete ONE of the following standardized tests:

 GED: Successful completion 2.7 DIVISIONAL COMMITTEE The Glenn Gould School Divisional Committee is comprised of the  SAT 1: minimum combined score of 1100 (critical reading- Department Coordinators for Piano, Voice, Strings, Woodwinds/ 550 and math-550) Brass/Percussion, Humanities, Theory/History, and members of  SAT 2: minimum score of 650 on one subject examination the GGS Administration. The GGS Divisional Committee meets  ACT: minimum average of 24 quarterly to discuss curriculum and academic policy issues.  University: minimum grade of 60% in one university course in a relevant admission subject 2.8 DOCUMENTATION  High School: minimum grade All documents submitted to The Glenn Gould School, unless considered irreplaceable, become property of The GGS.

2.9 DRUG AND ALCOHOL POLICY 2. ADMINISTRATIVE POLICIES The Royal Conservatory is committed to maintaining a drug-free school and workplace. The GGS is dedicated to excellence in musical performance and academic achievement; to promote this 2.1 ACADEMIC REVIEW COMMITTEE goal, The Glenn Gould School requires that faculty, staff, and The Glenn Gould School Academic Review Committee is com- students maintain the highest standards of personal and profes- prised of the Dean (or his designate), two GGS Departmental sional conduct. The illegal or abusive use of drugs and alcohol on Coordinators, and the GGS Registrar. The Academic Review Com- campus adversely affects the quality of academic life and the mis- mittee meets to address academic and administrative issues within sion of the institution. Due to the violent and/or potentially fatal The GGS. reactions to various substances, the use of drugs or alcohol on the

37 premises is strictly forbidden and therefore prohibited. government funding.

2.10 EMAIL COMMUNICATION 2.14 PRIVACY STATEMENT All students attending The Glenn Gould School must have an 1. The Royal Conservatory and The Glenn Gould School respect active email address. This is our first line of communication with students’ privacy. Personal information that you provide to the students. It is the responsibility of the student to ensure that their Conservatory is collected for the purpose of administering admis- email account remains active. Any changes to email addresses sions, registration, and academic programs; school related student should be reported to GGS Administration immediately. activities, activities of student clubs and associations, financial assistance and awards, graduation, and for the purpose of statisti- 2.11 GRADUATION/CONVOCATION cal reporting to government agencies. Any change in the following Students who plan to complete all requirements for their diploma must therefore be reported immediately to the GGS Registrar: by the end of the current academic year must complete an Applica- tion for Graduation Form and submit it to the Office of the Registrar  legal name for approval before October 1st of the current academic year.  mailing and permanent address and telephone number Students are strongly advised to make an appointment with the  mailing address and telephone number during the school Registrar to confirm their eligibility for graduation. Diplomas and year (if different from above transcript will be withheld if students have outstanding assistantship hours, or unpaid accounts with the Office of the Registrar,  social insurance number the Dean’s office and/or the Library.  citizenship status in Canada

2.12 HARASSMENT POLICY 2. At all times personal information will be protected in accordance with the Freedom of Information and Protection of Privacy Act and The Royal Conservatory is committed to providing an environment will not be disclosed without the express written consent of the for all employees and students which is free from any form of har- student, except in the following situations governed by institutional assment. Harassment is defined as any improper behaviour di- policy or statues of law: rected at and/or offensive to any employee or student. This includes objectionable comments or conduct which demean, humili- ate, or embarrass an individual and which are made on the basis  for the purpose of complying with a subpoena, warrant, or of race, national or ethnic origin, colour, religion, age, gender, order issued or made by a court, person, or body with juris- sexual orientation, marital status, family status, or disability. diction to compel the production of information  in an emergency, if that information is required to protect the Sexual harassment encompasses a range of improper behaviour health or safety of the student or other persons of a sexual nature. Examples of such behaviour include but are  for the purposes of conducting research on behalf of The not limited to: inquiries or comment about an individual’s sex life, Glenn Gould School. This is done only under signed agree- unwanted touching, any communications with sexual overtones ments to maintain confidentiality and to ensure no personally causing embarrassment or humiliation, displaying of sexually of- identifying information is made public. Pursuant to this, fensive material, and inappropriate or unwelcome focus or com- students will be requested to sign a Privacy Statement Waiv- ment on a person’s physical characteristics or appearance. er at the beginning of each academic year.

If you wish to report an incident of harassment at The Royal Con- 2.15 PRIVACY BREACH servatory, you should contact the Human Resources Department The Glenn Gould School is committed to protecting the privacy, at 416.408.2824 ext. 355 or the Registrar at ext. 258. All conver- confidentiality, and security of the personal information that it re- sations will be strictly confidential. The Royal Conservatory will tains on its students. To ensure that personal information is safe- handle any complaints in accordance with provincial legislation guarded from improper access, loss, use, disclosure, or destruc- with respect to harassment. The Glenn Gould School will not, in tion, the GGS ensures only the Registrar and the Admissions and any way, retaliate against any individual who, in good faith, makes Student Services Manager are granted access to these records. a complaint or report of harassment, or participates in the investi- gation of such a complaint or report. Should a breach of privacy occur, the Registrar will record the incident noting the date, time, location, and cause of the breach 2.13 LEAVE OF ABSENCE and in some cases, if warranted, notify the student that their infor- A Leave of Absence may be granted for a period of a few days or mation has been compromised. Currently all student files are up to a portion of a semester, upon the express written approval of locked with access granted only to the Registrar and the Admis- The Glenn Gould School Administration, as determined in consul- sions and Student Services Manager. Investigations will follow the tation with the student’s private instructor. A student on an ap- protocols of the Office of the Privacy Commissioner of Canada proved Leave of Absence will remain registered for the semester and will still be responsible for all course work, examinations, ju- 2.16 RE-ADMISSION ries, outstanding or incomplete course activities, and for all associ- Students who have been absent or not registered for one or more ated academic and ancillary fees. consecutive semesters are considered to have withdrawn and must apply for Re-Admission. An application fee is required and Students are advised that absence from school for more than five students may be asked to re-audition. (5) consecutive days is grounds for forfeiture of Ontario (OSAP)

2.17 RELATIONSHIPS gram Sexual and/or romantic relationships between employees or con- tractors of The Royal Conservatory and students are strictly pro- 2.24 WITHDRAWAL hibited. Students who wish to be away from The Glenn Gould School for a semester or more must formally withdraw in writing to the Regis- 2.18 RELIGIOUS ACCOMMODATION trar. Students who withdraw, and who wish to return to The The Glenn Gould School accommodates students who, for reason School, must re-apply. Please review article 2.16: Re-Admission. 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 3. STUDENT CODE OF CONDUCT The following Code of Conduct is intended to preserve freedom of during the first two weeks of any given academic semester of as expression and association at The Royal Conservatory while pro- soon as possible after a need for accommodation is known. tecting the civil, personal, and property rights of The Royal Con-

servatory and its constituents. 2.19 TRANSCRIPTS The Glenn Gould School depends upon adherence of all members 1. Mid Term and Year-end transcripts are mailed following receipt of the program to high standards of academic behavior. Acts con- of final marks from all instructors. Grades will not be released to stituting a violation of the Honor Code include giving assistance in students by any other means. Any errors or omissions should be a formal academic exercise without due acknowledgment; plagia- reported within 30 days to the Office of the Registrar upon receipt rism; the submission of the same work of academic credit more of the transcript. than once without permission; willful falsification of data, infor- 2. Transcripts will be withheld if a student has outstanding fee or mation or citation; and the failure to take constructive action in the fines. event of committing or observing a violation or apparent violation". 3. To order transcripts students must fill out a Transcript Request Form. Transcripts will not be issued until all outstanding accounts 3.1 UNACCEPTABLE STUDENT CONDUCT have been cleared. No partial transcripts of a record are issued. The following are examples of unacceptable student conduct:

2.20 RESIDENCY REQUIREMENTS AND 1. Plagiarism. Plagiarism is defined as the act of using ideas, COMPLETION TIMES words, or work of another person or persons as if they were one’s The Performance Diploma Program requires four (4 )years of full- own without giving proper credit to the original sources. The fol- time study and the Artist Diploma Program requires two (2) years lowing examples of plagiarism are intended to be representative, of full-time study. Some exceptions for extended study are allowed. but not all-inclusive: Decisions will be based on the level of the student’s achievements  Failing to give credit via proper citations, regardless of and previous education. Students will need teacher approval and source, for others’ ideas and concepts, data and information, are required to apply before the end of March of the current calen- statements and phrases, and/or interpretations and conclu- dar year for approval. sions.  Failing to use quotation marks when quoting directly from 2.21 SMOKING POLICY another, whether it be a paragraph, a sentence, or a part Smoking is not permitted within 50 feet of any entrance to The hereof. Royal Conservatory.  Paraphrasing the expressions of thought by other without appropriate quotation marks or attribution. 2.22 STUDENT CARDS  Assembling parts from various works and submitting the Students are issued a photo ID card at the beginning of each new synthesis or single paper as one’s own creation. academic year of their studies at The Glenn Gould School. Gov-  Representing another’s artistic/scholarly works, such as ernment-issued photo ID (ex. passport or driver’s license) must be musical composition, computer programs, photographs, presented in order for the card to be released. paintings, drawings, sculptures, or similar works as one’s Replacement cards are subject to a $10 processing fee. own.

2.23 STUDENT STATUS 2. Cheating. Cheating is obtaining information or academic ad- Full-time Diploma Status vantage by dishonest means, and includes, but is not limited to, The Office of the Registrar must have a signed Offer of Admission the following: or Confirmation of Enrollment before students can be registered for  Exchanging information with another student during an exam- full-time studies. To be considered full-time, students must be ination or using unauthorized material during an examination. registered in a minimum of 20 hours of class/private instruction per  Representing or impersonating another, or permitting oneself week. Only full-time diploma students are eligible for OSAP fund- to be represented or impersonated by another, in taking an ing, scholarship funding, and work study placements. examination or submitting academic work.  Submitting academic work containing a reference to a source Part-Time Diploma Status that does not exist. The Glenn Gould School does not offer a part-time diploma pro-

 Submitting, without first obtaining approval of the person to 6. Where measures are taken under 3.2 1, the proctor, instructor, whom it is submitted, all or part of any academic work that program coordinator, supervisor, or administrator will inform the has been co-authored. Registrar of the measures and the relevant circumstances. The  Submitting academic work for two courses without first ob- Registrar will inform the student of the measures, the reason they taining approval of the second tutor or the instructor. were taken, and that the student may request a Formal Appeal as provided for in paragraph 1.2.2 of the Academic Policies section.  Submitting graded academic work from a previous program of study.  Using previously graded repertoire in a performance based 3.3 CONSEQUENCES OF MISCONDUCT examination such as a recital or prep audition. Consequences of misconduct include, but are not limited to, the following measures, which may be taken singly or in combination: 3. Submitting false information or misrepresenting facts to The  Warning Glenn Gould School , or to a third party, for the purpose of secur-  Probation for a specified period of time, or indefinitely, togeth- ing admission or registration, obtaining academic or other ad- er with any conditions the Academic Review Committee vantage, or for any other improper purpose. considers appropriate

 Restriction or revocation of practicing or other privileges 4. Conduct that disrupts the normal course of examination delivery, tutoring, teaching, studying, research, administration, or meetings.  Cancellation or revocation of scholarships, bursaries, or Assistantship positions 5. Theft, damage to, or misuse, of Royal Conservatory property or  Failing grade or mark of zero (0) in the course, examination, another person’s property, including unauthorized entry to or use or academic work respective of which the unacceptable con- of Royal Conservatory facilities, classrooms, or offices, or inappro- duct occurred priate use of Royal Conservatory computing resources.  Exclusion from a class, course, or program  Rejection of an application for admission or registration 6. Non-compliance with The Glenn Gould School and Royal Con-  Cancellation of registration servatory Orchestra Attendance Policies.  Expulsion from The Glenn Gould School 7. Verbal and/or written statements considered abusive and which  Legal prosecution have been directed toward any Royal Conservatory student, par-  Suspension for a specified period of time (which may include ent, administration, and/or facilities personnel. deferral of the granting of academic credentials during the period of the suspension) 3.2 STUDENT MISCONDUCT 1. The proctor, instructor, program coordinator, supervisor, or 3.4 CONDUCT IN EXAMINATIONS administrator may immediately remove the student from the class, Violations of any of the following examination regulations are pun- course, program of study, or other activity or premises, as the case ishable under the Student Code of Conduct policies: may be, and may take such other measures as they consider  Food and beverages are not allowed in the examination appropriate. Such action may be taken if a student engages in any room. conduct which, in the opinion of a proctor, instructor, program  Students shall not bring into the examination room any coordinator, supervisor, or administrator, causes or is likely to books, papers or other materials or devices except with the cause: written permission of the examiner in the subject concerned  Harm to any person or a threat to the safety or well-being of or as indicated on the examination paper. any person.  No student shall be permitted to enter the examination room  Damage or threatened damage to property. later than thirty (30) minutes after the beginning of the exami-  An immediate disruption or threat of disruption to a course or nation or allowed to leave within thirty (30) minutes after the examination delivery, tutoring, teaching, studying, research, examination has commenced. administration, or meetings.  No student shall be permitted to leave the examination room within the last ten (10) minutes of the examination period. 2. If a proctor or instructor has reason to believe the integrity of an  Students shall hold no communication of any kind with other examination or academic work has been compromised by plagia- students within the examination room. Cheating will not be rism or cheating, the instructor may invalidate the results of the tolerated. examination or academic work.  Unless the supervisor has granted permission, students may 3. Any measures taken under 3.2 1. above may be varied by the leave their seats only to turn in their examination papers. Registrar or Academic Review Committee, and do not preclude further consequences under this policy. 4. The Registrar may also take such interim measures she/he 3.5 ACTIVE STUDENT PARTICIPATION considers appropriate. The provisions of 3.2 5. to 3.2.6. below Full-time students who apply for OSAP must be in full-time attend- apply to any interim measures taken by the Registrar, with the ance. Students must attend 20 hours of class instruction per week necessary changes. for the full term. A student who does not comply with the Active 5. Failure by a student to comply fully with measures taken under Student Participation Policy for five (5) consecutive days will no 3.2 1. is considered Unacceptable Conduct, independent of any longer be eligible for OSAP other conduct of the student, and such failure may itself be subject to consequences.

Within 30 days of the date of withdrawal, the Institution must first forward 4. FINANCIAL INFORMATION any applicable tuition fee refund to the student’s bank, the National Student Loans Service Centre, and/or the Student Support Branch of the 4.1 CONFIRMATION FEE Ministry of Education & Training. If the loan document has not been negotiated or cashed, the loan document is returned to the Student Every student must submit a non-refundable Confirmation Fee Support Branch of the Ministry of Education. of $350 CAD to confirm a place in the program. The Confirma- tion Fee will be applied to 2012-2013 tuition and must be returned along with the signed Offer of Admission/Confirmation of 7. Withdrawn Status: Students are considered to have withdrawn from Enrollment contract. their program of study if:

 She/he has advised the institution that she/he has withdrawn from 4.2 NON-PAYMENT OF FEES the program in writing Failure to pay fees by the stated deadlines will result in the  She/he has not complied with the Attendance Policy for five (5) withholding of services by The Glenn Gould School and de- consecutive days registration with five (5) academic days of notification of non-  She/he has been de-registered from the institution payment. Failure to make payment of other specified fees will result in withholding of services by The Glenn Gould School.  For any reason is incapable of attending classes The Glenn Gould School reserves the right to engage the services of an outside debt collector to collect outstanding fees. Within fourteen (14) days of withdrawal, The Glenn Gould School must Students will not be eligible for re-registration, be granted ac- send to the Ministry a copy of the completed Student Activity Update cess to any school facilities or service, will not receive grades or form, any OSAP loan authorization documents, and must notify the transcripts, and will not be permitted to graduate until all out- Canada Student Loan Program and/or the Ontario Student Loans Plan standing accounts have been cleared. by completing the educational institution copy of the CSL loan document.

4.3 ONTARIO STUDENT ASSISTANCE 4.4 PAYMENT SCHEDULE PROGRAM (OSAP) 1. Students may choose to pay tuition fees in full or in two installments. 1. Full-time students enrolled in the Performance Diploma Pro- Full year, and/or first installment payment must be received by Septem- gram or Artist Diploma Program may be eligible for assistance ber 10; second installment payment must be received by January 7. under one or more of the following components of the Ontario Registration is not complete until fees have been paid or payment ar- Student Assistance Program (OSAP): rangements have been finalized with the Office of the Registrar..  The Canada Student Loans Program (CSL)  The Ontario Student Loans Plan (OSL) 2. Students who require assistance meeting tuition deadlines should meet with the Registrar to make special arrangements and/or to inquire 2. Students are not guaranteed OSAP funding. Funding is de- about additional scholarships and bursaries prior to the first installment pendent on the Ministry of Training, Colleges and Universities’ deadline date. Students who apply for outside grants, loans, and/or determination of the student’s eligibility based on the assess- bursaries must initiate proceedings far enough in advance to ensure that ment of his/her OSAP application. these deadlines are met.

3. Students who use OSAP loans to pay for their fees must 3. Students whose loans have not been approved or whose financial have written confirmation from OSAP, including the amount they aid from other sources has not been verified by the first installment will be receiving. This confirmation must be received by the deadline date are still required to pay their first installment by the due Office of the Registrar prior to the first installment due date as date. outlined in the “Important Dates” listing in this Calendar. Stu- dents who do not have a confirmation statement by the due 4. Tuition payments may be made by certified cheque, cash, money date, must still remit fees by the due date. order, VISA, or MasterCard.

4. All students who receive financial aid must verify to the Reg- 5. Students who fail to comply with the payment schedule will be de- istrar their Social Insurance Number (SIN) card and a govern- registered. (see: 4.2 above). ment-issued photo identification card. 4.5 RESIDENCY 5. Active Student Participation Policy: Full-time students who apply for OSAP must be in full-time attendance. Students must Students who are classified as permanent residents or landed immi- attend 20 hours of class instruction per week for the full term. A grants are eligible for Canadian tuition. Students must provide The student who does not comply with the Active Student Participa- Glenn Gould School with official government documentation by the first tion Policy for five (5) consecutive days will no longer be eligible installment deadline for full year tuition or by the second installment for OSAP. payment for spring tuition only. Changes to tuition payments cannot be made retroactively. It is the student’s responsibility to inform The GGS 6. Refunds: A student is eligible for a full tuition refund on or of any change in residency status. before the first day of classes. After the first day of classes, refunds are on a pro rata basis per section 4.6. The date of withdrawal is the last day of full-time attendance by the student.

4.6 REFUNDS 4.9 OTHER FEES Only tuition fees, not Confirmation of Enrollment fees, are eligible for A fee is charged, and is payable at the time of request, for the refund. They are apportioned according to the following schedule; following ancillary services:  Diploma replacement: $75 th st On or before September 10 (1 day of class): 100% of tuition - $500  Recital Deferral: $50 September 11th to October 10th: 87.5% of tuition - $500  Transcript request: $12; free for current students. October 11th to November 10th: 75% of tuition - $500 November 11th to December 10th: 62.5% of tuition - $500 December 11th to January 10th: 50% of tuition - $500 As of January 10th: No tuition refunds given after this date

4.7 ROYAL CONSERVATORY AWARDS 1. All students of The Glenn Gould School are eligible for Royal Con- servatory 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.

2. Awards, scholarships, or bursaries may be revoked at any time if the following requirements are not met:  Scholarship and bursary recipients must be students in good standing and must maintain satisfactory academic progress.  Scholarship and bursary recipients may be required to write a detailed thank you letter to their patron(s) and may be called upon for a performance(s).  Bursary recipients are required to disclose any changes to their financial situation which would affect their need for financial assistance.

3. 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.

4. Bursaries. Students who can demonstrate financial need beyond the support provided by scholarship awards may apply for Bursary assistance. Bursary applications are available in the Office of the Registrar.

5. Work Study students who require additional financial aid may apply for one or more Assistantship Position(s). Assistantship applications and a list of Assistantships are available in the Office of the Student Services Manager. Due to the limited number of Assis- tantships, The Glenn Gould School cannot guarantee a position for every student.

6. 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.

4.8 TAX RECEIPTS The Royal Conservatory issues the T2202A Tuition, Education and Textbook Amounts Certificate tax forms to students. Please consult Canada Revenue Agency’s publication “Students and Income Tax” or their website www.cra.gc.ca for information about claiming tuition fees paid.

42 5. STUDENT SERVICES 3. Concerto Competition Every year the Glenn Gould School administers a Concerto Competi-

tion for GGS students. Winners of the Concerto Competition perform 5.1 COLLABORATIVE ARTISTS FOR STUDENTS with The Royal Conservatory Orchestra. Applications are available in The Glenn Gould School will provide a limited number of accompa- the GGS Administrative Offices. nying hours for students. Official accompanying privileges and regulations will be published in the Student Agenda and/or distrib- 4. Freelance Engagements uted at the beginning of the school year. The Glenn Gould School is approached regularly by members of the public for specific musical services. In response to this need, The 5.2 HEALTH INSURANCE GGS compiles a list of student musicians available for hire. Interested students should provide their contact information to the Student Ser- Full emergency medical insurance is mandatory as a condition of vices Manager. acceptance at The Glenn Gould School. Proof of valid emergency medical insurance must be submitted before the first day of class. 5. Master Classes International students who are unable to present proof of full emer- The Glenn Gould School presents over 100 master classes annually gency medical insurance must enrol in The Glenn Gould School’s by acclaimed GGS faculty and guest artists such as Leon Fleisher, StudentGuard group policy for the duration of the academic year. Robert McDonald, Regina Resnik, Warren Jones, Jeanne Baxtresser, Julie Landsman, Timothy Eddy, Kim Kashkashian, Camilla Wicks, 5.3 HOUSING Russell Brown, and George Crumb.

The Royal Conservatory does not have on-campus housing or 6. Promotional Engagements dormitory facilities. We recommend that students contact the Occasions may arise when an individual student or student ensemble Student Services Manager for information about independent will be called upon to perform at special events that promote The student residences. Glenn Gould School and/or The Royal Conservatory. Invitation to

participate in such events is considered an honour, and services are 5.4 JOBS/CONTINUING EDUCATION/ provided without payment. COMPETITIONS/SUMMER FESTIVALS The Glenn Gould School maintains a comprehensive collection of 7. Showcase Concerts brochures and application forms for other music schools, competi- Each department of The Glenn Gould School (Piano, Voice, Strings, tions, and summer music festivals in the GGS Administrative Offic- Harp, Woodwinds, Brass, and Percussion) may propose a concert to es. 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. 5.5 LETTERS FROM THE DEAN The Dean is pleased to provide letters of recommendation for 8. Opera students applying to summer camps, competitions, grants, festi- Recent works performed include: Mozart, The Marriage of Figaro, Die vals, and other music programs. The Dean cannot provide letters Zauberflöte, and Cosi fan tutte; Bernstein, Trouble in Tahiti; Purcell, related to immigration or work visas. Dido and Aeneus; Massenet, Cendrillon; Britten, Turn of the Screw; Ravel, L’enfant et les Sortileges; and Vaughan Williams, Riders to the 5.6 NEWSWORTHY Sea.

Please send detailed information about your competition winnings, 9. Outreach scholarships, grants, concert reviews, and other achievements. Outreach is about sharing music with audiences in a variety of con- Email the Student Services Manager with your news. texts. The skill and comfort level required to relate to and communi-

cate with diverse audiences is crucial to the success of any musician 5.7 PERFORMANCE OPPORTUNITIES embarking on a professional career. The Glenn Gould School is 1. Chamber Music constantly developing relationships with health care and educational Chamber music is an integral component of The Glenn Gould institutions, rural communities, festivals, and other cultural organiza- School curriculum. Numerous performance opportunities exist at tions. The Royal Conservatory, off site venues, and as part of outreach programming. As well, students are often engaged by local and 10. Royal Conservatory Orchestra (RCO) regional concert presenters. In the past, Glenn Gould School The RCO is an essential part of the PDP and ADP orchestral pro- students have participated in concert series at the Canadian Opera gram. Placement auditions are held in September. Conductors re- Company (Noon Hour Concerts), The Arts and Letters Club, To- hearse the orchestra under intense, professional conditions. Recent ronto Music Garden, Stratford Summer Music, CBC Glenn Gould works performed include: Mahler, Symphonies Nos. 2-5; Shostako- Studio, Music at Cookstown, Barrie Colours of Music Festival, the vich, Symphonies Nos. 5 and 14; Berlioz, Symphonie fantastique; Royal Ontario Museum, and Royal St. George’s College. Beethoven, Symphony No. 5; Stravinsky, Rite of Spring, Petroushka, Pulchinella; Mussorgsky, Pictures at an Exhibition; and Bartok, Music 2. Choir /Collegium for Strings, Percussion and Celeste. As well, RCO regularly performs Students may fulfill this requirement as a member of the Opera Canadian work(s). Chorus upon approval .

5.8 PERFORMANCE VENUES

 Mazzoleni Hall

 Koerner Hall  Conservatory Theatre

5.9 PRACTICING AT THE ROYAL CONSERVATORY

1. Practice studios are shared among The Glenn Gould School, the Young Artists Performance Academy, and the Conservatory School. Royal Conservatory spaces are administered by the Scheduling Of- fice in the best interests of all members of The Royal Conservatory community.

2. Policy details governing studio usage will be published in the Stu- dent Agenda and/or distributed at the beginning of the school year. Access to practice studios will be limited during the summer months. Please consult with the Scheduling Office for exact details.

3. Building Closures - Please refer to the “Important Dates” listing at the beginning of this Calendar. STUDIO PRACTICE HOURS Academic Year Summer

Monday - Friday 8am to 11pm 8:30am - 8pm

Saturday 8am - 10pm 8:30am - 5pm

Sunday 10am - 10pm Closed

5.10 STUDENT COUNCIL The Student Council organizes special events such as orientation, parties, and social outings. The Council also acts as the students’ representative with Glenn Gould School Administration, as well as the academic committees and various councils of The Royal Conservato- ry .

5.11 TECHNOLOGY LAB The Royal Conservatory Music Technology Lab includes a Disclavier Yamaha and Piano, Yamaha Clavinova workstations, Mac and PC computer workstations, scanner, printer, multimedia, Sibelius and Finale, music notation, and web-publishing software (ProTools), se- quencers 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 may creating/editing their own audio CDs and DVDs. Glenn Gould School students may also use the Lab for email, internet, and homework purposes. There are also a number of recording stations supporting ProTools LE & M-Powered ProTools. Current projects include a student Laptop Program (MacBooks) and mobile recording studios for student use.

5.12 eBulletin 1. The eBulletin is an electronic newsletter sent once per week to all Glenn Gould School students, staff, and faculty. It contains information about auditions, competitions, housing, and any other important news that the administration wishes to transmit to students.

JURIES AND RECITALS In addition:  Students must provide the Adjudicator with copies all pieces  All works must be solo, except for the Chamber Music on the program component (see above).  Programmes must submitted to the Performance Manager  Additional Chamber works must be approved in advance one month prior to the recital and must include all opus num- by the Department Head. bers, catalogue numbers, movements of works, song collection titles, accompanists, and the names of additional musi-  Intermissions must be limited to 10 minutes and the inclu- cians sion of an intermission cannot result in the total length of  Recitals can take place at any time of the Academic year. the recital exceeding the time booked. However, all recitals must be completed by May 31.

 Permission to defer a recital is given only in the case of ill- MEMORIZATION ness or family emergency. Requests for deferral of a recital Woodwinds/Brass/Percussion: Memorization of material not re- on medical grounds will be accepted only when they are quired. accompanied by a valid medical certificate and will then be Harp: All material must be memorized except duo sonatas and sent to the Academic Review Committee for review. chamber music.

JURIES PERFORMANCE DIPLOMA PROGRAM (PDP) - Performance Diploma Program - Year 1 students (only) STRINGS & PIANO LENGTH: 20 minutes DATE: exam week RECITAL LENGTH (not including intermission) INSTRUMENT: All Year 2 – 1 Recital (60 - 70 minutes) REPERTOIRE: must consist of four (4) contrasting works repre- Year 3 – 1 Recital (60 - 70 minutes) sentative of different styles, eras, and genres Year 4 – 1 Recital (60 - 70 minutes)

RECITALS RECITAL REPERTOIRE Programme must be approved by the appropriate Department Head a  Artist Diploma students must obtain a passing mark of minimum of one (1) month in advance of the recital date. Each credit 70% (GPA 2.67) on their recitals in order to continue or recital must contain repertoire representing various styles and peri- graduate. ods. Over the course of the three credit recitals each student must  Performance Diploma students must obtain a passing present: mark of 70% (GPA 2.67) on their recitals in order to  A minimum of one (1) Canadian composition continue or graduate.  One (1) Chamber work (or a set of art songs, for pianists)  All recitals must be completed by May 31st.  One (1) complete concerto  Once a recital date is scheduled it can only be changed for documented reasons of medical or family emergen- In addition: cy.  All works must be solo, except for the Chamber Music  Programs must be typed and formatted in accordance component (see above). with Glenn Gould School guidelines – Handwritten or  Additional Chamber works must be approved in advance improperly formatted programs will not be accepted by the Department Head.

 Encores that are not listed on the program will not be PERFORMANCE DIPLOMA PROGRAM (PDP) - adjudicated.  Intermissions must be limited to 10 minutes and the inclu- WOODWINDS, BRASS, HARP & PERCUSSION sion of an intermission cannot result in the total length of RECITAL LENGTH the recital booking exceeding the time booked. Year 2 – 1 Recital (45 - 70 minutes)

Year 3 – 1 Recital (50 - 70 minutes) MEMORIZATION Year 4 – 1 Recital (60 - 70 minutes) Piano – All material must be memorized except duo sonatas, cham-

ber music and art songs. RECITAL REPERTOIRE Strings – All works for one instrument unaccompanied must be mem- Programme must be approved by the appropriate Department orized. Sonatas with keyboard or other accompaniment and works Head a minimum of one (1) month in advance of the recital date. for 2 or more players need not be memorized. Each credit recital must contain repertoire representing various New Music – Repertoire in a contemporary idiom need not be memo- styles and periods. Over the course of the three credit recitals each rized. student must present:

 A minimum of one (1) Canadian composition

 One (1) Chamber work  One (1) complete concerto

PERFORMANCE DIPLOMA PROGRAM (PDP) - VOICE Year 2 – 1 Recital (40 - 50 minutes) MEMORIZATION Year 3 – 1 Recital (50 - 60 minutes) All material must be memorized except duo sonatas, chamber Year 4 – 1 Recital (55 - 65 minutes) music, and art songs. New Music – Repertoire written in a contemporary idiom need not RECITAL REPERTOIRE be memorized. Each credit recital must contain repertoire representing various styles, OTHER periods, and languages. ADP Piano students may perform one (1) of the four (4) credit Over the course of the three credit recitals, each student must pre- recitals at an off-site venue. Off-site recitals are evaluated by sent: adjudicators, if in Toronto, or by tape if outside Toronto. If the  A minimum of one (1) Canadian composition concert is to take place outside Toronto, the student must arrange to have a professional quality recording of the performance made;  Repertoire in English, Italian, French, and German. (Other an unsatisfactory recording could be considered a failure. Stu- languages are optional. dents must also submit published reviews (if any) and promotional In addition: materials for the recital. Reviews will not be used as evaluations or  All works must be solo, except for the Chamber Music to determine grades. component (see above).  Chamber music must be approved in advance by the Department Head. ARTIST DIPLOMA PROGRAM (ADP) -  Concert and Oratorio arias are permitted. ORCHESTRAL INSTRUMENTS  Opera arias are not permitted.  Instrumental interludes between vocal works are not per- RECITAL LENGTH mitted. Year 1 – 1 Recital (60 - 75 minutes)  Encores that are not listed on the program will not be Year 2 – 1 Recital (60 - 75 minutes) adjudicated. --or— Year 2 – Mock Audition  Intermissions must be limited to 10 minutes and the inclu-

sion of an intermission cannot result in the total length of RECITAL REPERTOIRE the recital booking exceeding the time booked.  Each credit recital must contain repertoire representing MEMORIZATION various styles and periods. All art songs and arias, including oratorio arias with obbligato instru-  Over the course of the two (2) credit recitals each stu- ments, must be memorized. dent must present:. A minimum of one (1) Canadian Any piece of chamber music character that includes instruments in composition on one of the recitals addition to or instead of the piano need not be memorized.  All works must be solo, unless otherwise approved by Contemporary Music – Repertoire in a contemporary idiom need not the Department Head. be memorized.  Chamber works are permitted but they must be approved in advance by the Department Head. Chamber works will be judged as a collective performance. ARTIST DIPLOMA PROGRAM (ADP) - PIANO  Encores that are not listed on the program will not be adjudicated. RECITAL LENGTH (for each recital)  Intermissions must be limited to 10 minutes and the Year 1 – 2 Recitals (65 - 75 minutes) inclusion of an intermission cannot result in the total Year 2 – 2 Recitals (65 - 75 minutes) length of the recital booking exceeding the time booked.

RECITAL REPERTOIRE Prep Audition – A major, juried evaluation of all orchestral ex-  Each credit recital must contain repertoire representing cerpts studied during the two-year program, as covered in Orches- various styles and periods. tra Repertoire class. This option must be applied for in writing by November 15th of the academic year in which the Prep Audition  Over the course of the four (4) credit recitals each student would take place. must present a minimum total of one(1) Canadian compositions on two of the four recitals. MEMORIZATION  All works must be solo, unless otherwise approved by the Strings & Harp – All works for one instrument unaccompanied Department Head. must be memorized. Sonatas with keyboard or other accompani-  Chamber works (or a set of Art Songs) are permitted but ment and works for 2 or more players need not be memorized. they must be approved in advance by the Dean. Cham- Woodwinds, Brass, Percussion – Memorization of material not ber works will be judged as a collective performance. required.  Encores that are not listed on the program will not be New Music – Repertoire written in a contemporary idiom need not adjudicated. be memorized.  Intermissions must be limited to 10 minutes and the inclu- Prep Audition Excerpts – Memorization not required. sion of an intermission cannot result in the total length of the recital booking exceeding the time booked.

ARTIST DIPLOMA PROGRAM - VOICE MASTER CLASSES

RECITAL LENGTH Frequent Master Classes are given by international artists and by Year 1 – 1 Recital (55 - 70 minutes) our own faculty. Student performance opportunities are at the Year 2 – 2 Recitals (55 - 70 minutes) discretion of the visiting artist, Master Class Coordinator, the pri- --or— vate teacher and the Dean. Year 2 – 1 Recital + 1 Operatic Role Students are required to attend 15 Master Classes in the course of the Academic Year. Within that 15, the student must attend all of REPERTOIRE the Master Classes offered on their particular instrument and make up the remainder in Master Classes of their own choosing to a total Languages – Minimum of English, plus two (2) other languages on of 15. Strict attendance policies are enforced and the student’s each recital. Over the course of the three (3) recitals, English, grade will reflect any absences. 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 that 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.

Professional or Student Opera Roles – Students who win a major professional role or have a significant role in a Glenn Gould School production may request to have their performance evaluated in lieu of one recital in the second year. Performances that take place in To- ronto will be evaluated by adjudicators; if required, 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 that includes instruments in addition to or instead of the piano need not be memorized. New Music – Repertoire in a contemporary idiom need not be memorized.

NON-CREDIT RECITALS (ALL PROGRAMS) Students who wish to perform solo or chamber recitals for non-credit purposes can book directly with the Performance Manager.

47 ADMINISTRATIVE STAFF DIRECTORY

The Glenn Gould School of The Royal Conservatory 273 Bloor Street West Toronto, Ontario M5S 1W2 Telephone: 416-408-2824 Fax: 416-408-5025

James Anagnoson Dean ext. 725 [email protected]

Barry Shiffman Associate Dean, Director of Chamber Music Director of the Young Artist Performance Academy ext. 358 [email protected]

Gary Atkins Technology Lab Coordinator ext. 323 [email protected]

Tyler Dunham Manager, Operations ext. 334 [email protected]

Kristan Hendriks Performance Manager ext. 320 [email protected]

Karson Jones Library Services Manager ext. 338 [email protected]

Meiyen Lee Admissions and Student Services Manager ext. 322 [email protected]

Gillian Story Young Artist Performance Academy Manager ext. 330 [email protected]

Jeremy Trupp Registrar ext. 258 [email protected]

Alaina Viau Assistant Performance Manager ext. 332 [email protected]

David Wadley Royal Conservatory Orchestra Manager ext. 453 [email protected]

Service Desk Inquiries ext. 255

Abigail Aylestock Service Desk Manager ext. 256 [email protected]

The Royal Conservatory

Mr. Michael M. Koerner, C.M. Chancellor

Mr. Michael Foulkes Chair, Board of Directors

Dr. Peter Simon President

Mr. David Batchelor Chief Marketing Officer

Ms. Angela Elster Vice President, Academic

Mr. Tony Flynn Chief Administrative Officer

Ms. Karen Leiter Vice President, Marketing and Communications

Mr. Mervon Mehta Executive Director, Performing Arts

Ms. Krista O’Donnell Chief Development Officer