Spring 2015

Course System Home Course Listing Spring 2015

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Showing 25 Results of 269

Movement Practice: Intermediate Dance Technique — Canceled

Spring 2015
Instructor: Samuel Wentz (MFA Teaching Fellow, supervised by Terry Creach)
Days & Time:
Credits: 2
This intermediate level movement practice is designed for students with prior dance technique training. Each class will develop from simple mobility sequences to expansive movement forms. The warmup will examine the joints and how their range of motion relates to proper alignment, readiness to move and articulation. These principles will then become the foundation for traveling
Dance

Moving and Forming (Dance Composition) — Canceled

Spring 2015
Instructor: Terry Creach
Days & Time:
Credits: 4
For both first-time and intermediate choreographers, this is an exploration of the basic components of moving and forming. We work improvisationally to build physical awareness, unearth movement ideas, images, and memories, and form many small dances. We develop improvisational scores as well as set pieces, and give particular attention to the performance site. Projects are
Dance

Moving into Creative Process — MOD2140.04

Spring 2015
Instructor: Terry Creach
Days & Time:
Credits: 1
No prior movement training required. The less the better. Looking to locate and deepen our creative impulses, we will use moving as the medium for forming a series of short studies. We will research practices that can support and expand our personal work processes and endeavor to rid ourselves of the distractions and habits that limit us. We will look at the preparation and
Dance Modules: Transferable Approaches

Moving into Creative Process — MOD2140.03

Spring 2015
Instructor: Terry Creach
Days & Time:
Credits: 1
No prior movement training required. The less the better. Looking to locate and deepen our creative impulses, we will use moving as the medium for forming a series of short studies. We will research practices that can support and expand our personal work processes and endeavor to rid ourselves of the distractions and habits that limit us. We will look at the preparation and
Dance Modules: Transferable Approaches

Multi-Media Performance: Manipulating Time/ Space — MA4146.01

Spring 2015
Instructor: Sue Rees; Jean Randich
Days & Time:
Credits: 4
The class will be concerned with investigating the interaction of projected manipulated imagery with performers, motion, and space. The course will be a forum for actors, animators, dancers, video artists, and others to explore the interaction of live performance and mediated images. Investigation will center on how projections can be integrated into performance and used to
Visual Arts

Muriel Spark and Jeanette Winterson — LIT2267.01

Spring 2015
Instructor: Benjamin Anastas
Days & Time:
Credits: 4
***Time Change*** One was born half-Jewish in Edinburgh, Scotland and found Christ while starving in a London bedsit and taking Benzedrine to stay up writing; the other came from Manchester and was raised to be an evangelist by the Pentecostal family that had adopted her until her first lesbian affair got her kicked out of church and family and she had to work her way through
Literature

Music and Mathematics — MAT4124.01

Spring 2015
Instructor: Andrew McIntyre; Kitty Brazelton
Days & Time:
Credits: 4
How may mathematics be used to analyze music? How may it be used to compose music? What connections may be found between music and mathematics on the level of metaphor? This class will be not so much a survey as an exploration. The instructors and students will work together over the duration of the term to try to frame these questions, decide what we need to learn to answer
Science Mathematics and Computing Music

Music as an Instrument for Social Change — MHI2114.01

Spring 2015
Instructor: Bruce Williamson
Days & Time:
Credits: 4
This course will examine how music has provided strength and solidarity to various protest movements of the 20th century, often with dedicated support from student populations. We will look for examples of injustice and oppression which resulted in powerful musical expressions of both descriptive concern and angry defiance. Some of the social movements with a rich partnership
CAPA Dance Music

Music Composition for Dance — MHI2105.01

Spring 2015
Instructor: Michael Wimberly
Days & Time:
Credits: 2
A retrospective look at twentieth-century compositions composed specifically for dance. Composers such as Debussy, Ravel, Stravinsky, Ellington, Cage, and Copland revolutionized musical form, tonality, and rhythm during the twentieth century, creating compositions for iconic dance companies and choreographers such as the Ballets Russes, Martha Graham, Katherine Dunham, Alvin
Music

Music Composition Project — MUS4355.01

Spring 2015
Instructor: Allen Shawn
Days & Time:
Credits: 4
This is a course for music composition students. Each student produces a sizable piece for a single small ensemble, such as a piano trio or string quartet. There are regular reading sessions of the pieces in progress, culminating in a class presentation and taping of the completed works. The class time is used in three ways: for analysis and study of works composed for the
Music

Musical Theatre Writing - Book Lyrics — DRA4154.01

Spring 2015
Instructor: Sarah Hammond
Days & Time:
Credits: 4
"Words can be graceful, but music is grace itself. Music is a blessing that enters the soul through the ear." -Tony Kushner, from the foreword to Caroline or Change How do we write words that sing? What drives a character to sing? How can a words-writer best use the constraints of the musical form to make a character come alive in the theater? In this creative writing course,
Drama Music

Noticing, Choosing and Writing to Describe — MOD2107.01

Spring 2015
Instructor: Dana Reitz
Days & Time:
Credits: 1
When looking at an object, watching something moving, experiencing the sound of an occurrence, witnessing an interaction between people, or noticing the surrounding circumstance of any object or event - how do we choose what we see? What are we not choosing? And how do we attempt to speak or write about it? Focusing on any events or objects, not intentionally art, we will
Modules: Transferable Approaches

Noticing, Choosing and Writing to Describe — MOD2107.02

Spring 2015
Instructor: Dana Reitz
Days & Time:
Credits: 1
When looking at an object, watching something moving, experiencing the sound of an occurrence, witnessing an interaction between people, or noticing the surrounding circumstance of any object or event - how do we choose what we see? What are we not choosing? And how do we attempt to speak or write about it? Focusing on any events or objects, not intentionally art, we will
Modules: Transferable Approaches

Object-Oriented Programming — CS4153.01

Spring 2015
Instructor: Andrew Cencini
Days & Time:
Credits: 4
***Time Change*** In this course, students will learn the principles and practice of object-oriented programming. While much introductory computer science coursework focuses on the fundamentals of programming (program structure, loops, conditionals, design), this course will dig deeper into working in the object-oriented paradigm. Students will learn to program in an object
Science Mathematics and Computing

Orders of Magnitude — Canceled

Spring 2015
Instructor: Andrew McIntyre
Days & Time:
Credits: 1
We all have an intuitive sense of how large a number like 10 or 100 is. But is it possible to get some direct grasp on the world's population, the national debt, the distance to the nearest galaxies, or the time that has passed since the formation of the earth? Mathematicians and scientists do have good ways of understanding very large numbers, which we'll discuss in this class
Science Mathematics and Computing Modules: Transferable Approaches

Origins of the English Novel — Canceled

Spring 2015
Instructor: Annabel Davis-Goff
Days & Time:
Credits: 4
The first English novel appeared more than a hundred years after the publication (and translation into English) of Don Quixote. Where did the English novel come from? And how did it develop? We will read Defoe, Richardson, Fielding, among others. Students will write two essays.
Literature

Our Monsters, Ourselves — SPA4715.01

Spring 2015
Instructor: Sarah Harris
Days & Time:
Credits: 4
"We live in a time of monsters," writes Jeffrey Jerome Cohen in Monster Theory. As beings who mix categories or defy categorization altogether, monsters may be apt emblems for a postmodern age, yet it would be a mistake to imply that monsters are a creation of postmodernity. The monstrous figures that dominate popular contemporary culture come from a long artistic tradition,
Languages

People/ Place — PHO4219.01

Spring 2015
Instructor: Jonathan Kline
Days & Time:
Credits: 4
This course offers students the opportunity to explore the historical and social landscape of the region surrounding 51³ÉÈËÁÔÆæ. Our goal will be to make compelling, insightful images that reflect the diversity of the people and the complexity of social issues they face. We will be experimenting with both digital and analog cameras and location lighting to explore
Visual Arts

Peoples and Cultures of Africa — ANT2118.01

Spring 2015
Instructor: Miroslava Prazak
Days & Time:
Credits: 4
Why is there so much famine? Why so many civil wars? Why so much misunderstanding? To place current events in Africa in a meaningful framework, this course explores indigenous African cultures, drawing on ethnographic examples from selected ethnic groups representing major subsistence strategies, geographical and ecological zones, and patterns of culture. We will explore how
Social Science

Persons, Groups, and Environments — Canceled

Spring 2015
Instructor: Ronald Cohen
Days & Time:
Credits: 4
We spend much of our time in the presence of others, and all of our time in particular spaces. In this course we'll examine several psychological and sociological perspectives on social interaction, that is, how people think, feel, and act in the presence of others, and how the particular spaces in which interaction occurs affect social interaction. Attention will focus on
Social Science

Philippine Kulintang Gong Ensemble — MPF2027.01

Spring 2015
Instructor: Susie Ibarra
Days & Time:
Credits: 2
Kulintang gong music is practiced in many styles from several groups in the Philippines, northern Indonesia. Its Philippine origins were in the 14th century where it was created as royal court music in Mindanao, the Southern island of the Philippines. Many different Indigenous tribes play kulintang music in Mindanao. This ensemble will introduce the history and culture of
Music

Philosophy of Love and Friendship — PHI2123.01

Spring 2015
Instructor: Paul Voice
Days & Time:
Credits: 4
Arthur C. Danto remarks, "How incorrigibly stiff philosophy is when it undertakes to lay its icy fingers on the frilled and beating wings of the butterfly of love." There is something both true and false in this remark. The philosopher cannot, as the poet can, convey the particularities of a love lived, suffered and enjoyed, but romantic love and friendship are an aspect of our
Social Science

Photography Foundation — PHO2302.01

Spring 2015
Instructor: Liz Deschenes
Days & Time:
Credits: 4
The objective of this course is to provide the student with a proficiency in the basics of 35mm black and white photography. Class time will be spent working in the darkroom, lab demonstrations, and discussions of student work. In addition to technical lectures and reviews, a selection of images from the history of photography will be shown and discussed throughout the term.
Visual Arts

Physics II: Fields — PHY4325.01

Spring 2015
Instructor: Hugh Crowl
Days & Time:
Credits: 4
How does influence travel from one thing to another? In Newton's mechanics of particles and forces, influences travel instantaneously across arbitrarily far distances. Newton himself felt this to be incorrect, but he did not suggest a solution to this problem of "action at a distance." To solve this problem, we need a richer ontology: The world is made not only of particles,
Science Mathematics and Computing