Course Listing | 51��

Spring 2014

Manipulating the Projected Image — Canceled

Spring 2014

Instructor: Joshua Higgason

Days & Time:

Credits: 2

***This course has been combined with Motion Capture: Interactivity (DRA4208.01).*** This workshop for faculty and students is concerned with investigating the interaction of projected manipulated imagery with performers, motion, and space using Pandoras Box and Widget Designer. Investigation will center on how projections alter the reality of what they are projected on

Dance Drama Visual Arts

Markmaking and Representation — DRW2149.01

Spring 2014

Instructor: Mary Lum

Days & Time:

Credits: 4

The fundamentals of drawing are the basic tools for this investigation into seeing and translation. Using simple methods and means, the practice of drawing is approached from both traditional and experimental directions. The focus of this inquiry is on drawing from observation, broadly defined. In class drawing sessions are complemented by independent, outside of class work and

Visual Arts

Masks — DRA4331.01

Spring 2014

Instructor: Janis Young

Days & Time:

Credits: 4

Masks' is dedicated to the opening up of physical and vocal expression. To further that goal, this advanced performance class works with several groups of masks. In general masks can be used to hide and reveal, to disguise and transform, to attract, arouse and fire the imagination. Beginning with Jacques Lecoq's neutral mask exercises involving economy of effort and Mexican

Dance Drama

Mathematics of Fundamental Laws — MAT4120.01

Spring 2014

Instructor: Andrew McIntyre

Days & Time:

Credits: 4

This is a course in advanced calculus, including vector calculus (div, grad, curl), ordinary differential equations, and partial differential equations. The goal is to learn enough mathematics to understand the formulation of the fundamental physical laws, and their most important solutions: Newtons laws and planetary motion; Maxwells laws and electromagnetic waves; Einstein's

Science Mathematics and Computing

Medieval Ritual — MHI4132.01

Spring 2014

Instructor: Stephen Higa

Days & Time:

Credits: 4

Music always has its context. Sacred music would not “work” unless buttressed and enhanced by other sacred sounds as well as sacred sights, tastes, smells, places, gestures, texts, and objects. In this course, we will place Christian music in its context by examining the various ritual, performative, sensual, interpretive, literary, and theological experiences that

Music

Meisner Technique — DRA4268.01

Spring 2014

Instructor: Jenny Rohn

Days & Time:

Credits: 4

"If you are really doing it, you don't have time to watch yourself doing it." Sanford Meisner was an actor and founding member of the Group Theater. He went on to become a Master Teacher of Acting who sought to give students an organized approach to the creation of truthful behavior on stage within the imaginary circumstances of a play. The class focuses on developing an actor

Drama

Metafiction and Authorship — SPA4213.01

Spring 2014

Instructor: Sarah Harris

Days & Time:

Credits: 4

This course will be an exploration of metafiction and authorship in Spanish literature, film, and other arts. Through a careful consideration of several important, often playful, yet sharply critical works in Spanish, as well as their most significant theoretical underpinnings, students will read and discuss text that calls attention to itself as an artifice, and therefore,

Languages

Modern Guitar — MIN4224.01

Spring 2014

Instructor: Hui Cox

Days & Time:

Credits: 2

Individual training is available in jazz, modern, and classical guitar. Emphasis will be on technique, repertoire, song accompaniment (finger style), improvisation, arranging and composing for the guitar. Course material is tailored to the interests and level of the individual student. Corequisites: Must also participate in Music Workshop (Tuesdays, 6:30 - 8pm).

Music

Motion Capture Workshop — MA4126.01

Spring 2014

Instructor: Sue Rees; Jean Randich

Days & Time:

Credits: 2

This workshop is concerned with investigating the interaction of projected manipulated imagery with performers, motion, and space. We will explore spaces and objects through 3d mapping; the results will then be manipulated and projected back into the space. We will also explore performers movement through motion capture of gestures that will be further manipulated digitally.

Visual Arts

Motion Capture: Interactivity — DRA4208.01

Spring 2014

Instructor: Joshua Higgason

Days & Time:

Credits: 4

This workshop is concerned with investigating the interaction of projected manipulated imagery with performers, motion, and space and its use in performance. Using Watchout, a multi-display production software, and utilizing various other tools such as live cameras, animations, motion sensing input devices, and real-world inputs, students will investigate the integration of

Drama Visual Arts

Mountain Dulcimer (Lap Dulcimer) — MIN2224.01

Spring 2014

Instructor: John Kirk

Days & Time:

Credits: 2

A comprehensive course on learning personal music making skills on the Mountain (aka Lap) Dulcimer. History of the Dulcimer and many different styles will be learned both traditional and contemporary. Music theory and playing techniques will be covered and students will be expected to perform ( as a group or individually) at Music Workshop. Corequisites: Students must also

Music

Movement Practice: Advanced Dance Technique — DAN4344.01

Spring 2014

Instructor: Kota Yamazaki

Days & Time:

Credits: 2

This advanced movement class will develop from simple skeletal mobility sequences to expansive movement forms. The warm-up will examine the joints and how their range of motion relates to alignment, readiness to move, and articulation. These principles will then become the foundation for traveling sequences and longer movement phrases. Distinguishing between tempo, rhythm, and

Dance

Movement Practice: Beginning Dance Technique — DAN2214.01

Spring 2014

Instructor: Mina Nishimura

Days & Time:

Credits: 2

For those looking for a basic movement class. We begin with a slow warm-up focused on anatomical landmarks, muscular systems and basic alignment principles, but then progress to vigorous, rhythmic movement patterns and group forms. We work to strengthen, stretch, and articulate the body through longer movement phrases focused on weight shifting, changes of direction, and

Dance

Movement Practice: Intermediate Dance Technique — DAN4314.01

Spring 2014

Instructor: Daniel Roberts

Days & Time:

Credits: 2

This class will be based in the technique developed by Merce Cunningham for the purposes of his choreographic work, and address the articulations of the spine, codified exercises, complex foot/leg combinations, and jump training. The Cunningham Technique is known for its ability to strengthen the dancer's individual awareness of space. The class aims to enhance the

Dance

Movement Practice: Yoga, Gymnastics, and Dance — DAN2213.01

Spring 2014

Instructor: Terry Creach

Days & Time:

Credits: 2

For students interested in "moving-through" or flowing yoga asanas informed by attention to alignment, along with basic gymnastic floor-exercise skills that deal with momentum and more complex coordinated actions. We will warm-up with the stretching/strengthening poses and sequences from yoga and apply the alignment principles to rolls, handstands, and cartwheels in order to

Dance

Moving/ Forming/ Partnering — DAN2118.01

Spring 2014

Instructor: Terry Creach

Days & Time:

Credits: 4

This beginning level course is for any students interested and/or curious about the dance-making process, whether or not they have previous dance experience. We will first work to develop physical awareness and physical facility and work to unearth movement ideas, images, and memories. In the partnering practices we will deal with many of the same questions found in Contact

Dance

Music and Dance Collaboration — DAN4132.01

Spring 2014

Instructor: Susan Sgorbati; Allen Shawn

Days & Time:

Credits: 4

This course brings together intermediate and advanced choreographer-dancers with student composer counterparts, for a group of assigned collaborative projects. After some preliminary exercises and discussions, choreographers and composers will be paired off for three two-week projects that deliberately explore different ways of working. They will make a piece in which the dance

Dance Music

Music History Lecture Series — MHI2000.01

Spring 2014

Instructor: Nicholas Brooke

Days & Time:

Credits: 2

The class will meet weekly for twelve lectures on varied topics, given by music faculty on a rotating basis. The lectures will be arranged chronologically, focusing on a diversity of musical traditions. Lecture topics will include, among others: discussions of Medieval and Renaissance Music; gamelan and other Asian traditions, Bach, Mozart, Beethoven, the Romantic era, the 20th

Music

Music of Medieval Spain — MPF2162.01

Spring 2014

Instructor: Stephen Higa

Days & Time:

Credits: 2

In the Middle Ages, Spain was a fascinating confluence of Christian, Muslim, and Jewish cultures. At times antagonistic, at times cooperative, at times positively cozy, the chemistry between these three cultures was red-hot, gorgeous, and endlessly creative. In this course, we will form a medieval Spanish band to investigate medieval Spain's musical traditions, particularly as

Music

Music Since 1968 — MHI2228.01

Spring 2014

Instructor: Allen Shawn

Days & Time:

Credits: 4

In this course we focus our attention on a few of the most exciting and influential composers of the late twentieth century. Works by such composers as Elliott Carter, Toru Takemitsu, Olivier Messiaen, Pierre Boulez, Alfred Schnittke, Luciano Berio, Charles Wuorinen, Frederick Rzewski, John Adams, John Harbison, Galina Ustvolskaya, Gyorgi Kurtag, Gyorgi Ligeti, Sofia

Music

Music Workshop — MUS2001.01

Spring 2014

Instructor: Music Faculty

Days & Time:

Credits: 0

Workshop provides a weekly student-led forum for students to perform prepared works and/ or present their compositions, and receive feedback from the music faculty, instrumental teachers, and students. In addition, lectures and performances will be presented by the music faculty and occasional visiting artists. Corequisites: Students taking performance classes are

Music

Narrative Cinema: Century One — FV2113.01

Spring 2014

Instructor: Erika Mijlin

Days & Time:

Credits: 4

A broad view of narrative cinema history : from the very origins of film genres, through the definitions of style in the 'classical' film era, to the institution of 'master' narratives provided by the studio system. The course will take on both the legacy of a century of formal innovations as well as outright challenges to the medium, including: New Wave cinema, the Dogma

Visual Arts

Natural History of Plants — BIO2107.01

Spring 2014

Instructor: Kerry Woods

Days & Time:

Credits: 4

Plants define the biological environment. All other organisms depend on plants' capacity for photosynthesis. Plant structure and chemistry have shaped animal (including human) evolution, and we depend on plant products for food, medicine, structural materials, and many other things. Yet few people can name even the dominant plants in their environment and what determines their

Science Mathematics and Computing Environment

Nature and Artifice - A History of Architecture — ARC2112.01

Spring 2014

Instructor: Donald Sherefkin

Days & Time:

Credits: 2

Because architecture seeks to establish a degree of permanence in the world, it is by definition, not natural, a work of human artifice. But our structures are very much of the earth, and the history of architecture is a record of the manifold ways in which cultures have understood, and responded to, their relationship to nature. This course will explore the ways in which the

Visual Arts

Neurons, Networks, and Behavior — BIO4202.01

Spring 2014

Instructor: Elizabeth Sherman

Days & Time:

Credits: 4

How does light energy falling on the back of our eye get interpreted as a particular image of our friend or a painting or a leaf? How does a cockroach escape imminent predation by a toad? How does a slug remember that a recent poke wasn't dangerous? How do we remember? A rigorous consideration of general principles of neural integration at the cellular, sensory, central, and

Science Mathematics and Computing