Instructor Info:
Name: POUDRIER, EVE
Office Telephone:
Email: epoudrie@mail.ubc.ca
Taught Sections:
Status Section Activity Term Interval Days Start Time End Time Section Comments
 MUSC 403C 001Lecture1 Mon13:0015:30

Topic: Musical Communication: Action, Perception, Emotion. This course is an introduction to the psychology of music with a special emphasis on the perspective of the practicing musician and the role of expectation in setting-up the stage for musical communication. Topics covered include: basic perceptual mechanisms for musical structures; issues related to music acquisition, performing and composing music; and the relationship between music, expression and well-being. This course is restricted to music majors and minors. WIth 533C.

 MUSC 403F 001Seminar2 Mon Wed13:0014:30

Cognition of Musical Rhythm. With 533F. Where does the power of musical rhythm to "move" us come from? Is "feeling the beat" a uniquely human ability? This course is situated at the interface of music psychology and music theory, and it integrates concepts and methods from both fields. At the end of the semester you will have gained critical understanding of the issues at stake in musical rhythm research and acquired a set of skills that will enable you to formulate research questions, conduct a literature review, and design an experimental pilot study.

Topics surveyed include: developmental and cross-cultural issues, metric entrainment, microtiming, groove, and rhythmic complexity. (This course is open to non-music majors; music performance experience and/or ability to read music is not required, but will be helpful.)

 MUSC 410 001Lecture1 Tue13:0015:30

Introduction to Shenkerian Analysis. With MUSC 500D. Investigation of voice-leading structures in tonal music, using the concepts and tools of Schenkerian analysis, with a focus on works from the Western classical canon, from phrases and sections to entire pieces or movements. Exploration of the interaction of listening, analysis, performance, and musical imagination. At the end of this course, you will have achieved a practical understanding of Schenkerian concepts, effective sketching technique, and fluency in reading graphic notation.

RestrictedMUSC 500D 001Seminar1 Tue13:0015:30

Topic: Schenkerian Analysis. Investigation of voice-leading structures in tonal music, using the concepts and tools of Schenkerian analysis, with a focus on works from the Western classical canon, from phrases and sections to entire pieces or movements. Exploration of the interaction of listening, analysis, performance, and musical imagination. At the end of this course, you will have achieved a practical understanding of Schenkerian concepts, effective sketching technique, and fluency in reading graphic notation. With MUSC 410

FullMUSC 533C 001Seminar1 Mon13:0015:30

Topic: Musical Communication: Action, Perception, Emotion. This course is an introduction to the psychology of music with a special emphasis on the perspective of the practicing musician and the role of expectation in setting-up the stage for musical communication. Topics covered include: basic perceptual mechanisms for musical structures; issues related to music acquisition, performing and composing music; and the relationship between music, expression and well-being. This course is restricted to music majors and minors. WIth 403C.

RestrictedMUSC 533F 001Seminar2 Mon Wed13:0014:30

Topic: Cognition of Musical Rhythm. With 403F in IBLC MUSC Seminar Room. Where does the power of musical rhythm to "move" us come from? Is 'feeling the beat' a uniquely human ability? This course is situated at the interface of music psychology and music theory, and it integrates concepts and methods from both fields. At the end of the semester, you will have gained critical understanding of the issues at stake in musical rhythm research and acquired a set of skills that will enable you to formulate research questions, conduct a literature review, and design an experimental pilot study.

Topics surveyed include: developmental and cross-cultural issues, metric entrainment, microtiming, groove, and rhythmic complexity. (This course is open to non-music majors; music performance experience and/or ability to read music is not required, but will be helpful).