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Time & Day Offered
Level
Credits
Course Duration

Groundwork: What You Need to Know to Make Music — MFN2110.01

Fall 2018
Instructor: Kitty Brazelton Andrew Greenwald
Credits: 4
You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make
Music

Groundwork: What You Need to Know to Make Music — MFN2110.01

Fall 2015
Instructor: Kitty Brazelton
Days & Time: TBA
Credits: 4
You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make
Music

Groundwork: What You Need to Know to Make Music — MFN2110.01

Fall 2016
Instructor: Kitty Brazelton
Credits: 4
You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make
Music

Groundwork: What You Need to Know to Make Music — MFN2110.01

Fall 2014
Instructor: kitty brazelton
Days & Time: TBA
Credits: 4
You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make
Music

Groundwork: What You Need to Know to Make Music Lab — MFN2110L.01

Fall 2015
Instructor: Kitty Brazelton
Days & Time: TBA
Credits: 0
This lab is the corequisite two-hour meeting for students enrolled in MFN2110 Groundwork: What You Need to Know to Make Music.  Students meet with instructor and composer intern in smaller groups to focus on individual issues and to collaborate with coaching.  
Music

Group Composition Intensive — MCO4116.01

Fall 2018
Instructor: Kitty Brazelton
Credits: 2
In a group salon, students present and critique compositions written for their bands. Students are encouraged to integrate broad music learning experience: music theory, history and composition, sound design and recording, and/or voice and instrumental instruction. The object is to use this educational breadth to make more discerning and innovative choices in songwriting,
Music

Growing a body like a plant — DAN2014.01

Fall 2023
Instructor: luciana achugar, MFA Teaching Fellow
Credits: 2
This movement practice course is open to all levels of experience and even no experience at all with body conditioning or dance. The course is approached as a form of exercise that functions as a ritual for creating a deeper relationship to our bodies and a practice of “growing” our bodies organically from the process of tending to its needs for more strength, mobility,
Dance

Hand as Tool — CER2317.01

Spring 2022
Instructor: Aysha Peltz
Credits: 4
Clay responds directly to touch, retains memory and is forced through the dynamic process of firing to fix a point in time. This class will introduce students to a variety of hand-building techniques to construct sculptural and/or utilitarian forms. Students will develop their skills by practicing techniques demonstrated in class. Through making, students skills will increase,
Visual Arts

Hand-drawn Animation — MA2217.01

Spring 2023
Instructor: John Crowe
Credits: 2
Fundamentals of 2-D animation principles will be explored through drawing, from basic motion cycles to more nuanced straight-ahead movement and emotion. Students will primarily work with wet/dry mediums on paper, with additional instruction in Dragonframe and After Effects compositing workflow. Weekly exercises will explore a variety of animation techniques to create short
Visual Arts

Hand-drawn Animation — MA2217.01

Spring 2021
Instructor: John Crowe
Credits: 2
Fundamentals of 2-D animation principles will be explored through drawing, from basic motion cycles to more imaginative movement and expression. Students will primarily work with wet/dry mediums on paper, with additional instruction in After Effects compositing workflow. Weekly exercises will explore a variety of animation techniques, from highly structured processes to
Visual Arts

Hand-drawn Animation — MA2217.01

Spring 2026
Instructor: John Crowe
Days & Time: TU 2:10pm-4:00pm
Credits: 2

Fundamentals of 2-D animation principles will be explored through drawing, from basic motion cycles to straight-ahead animation. Students will primarily work with wet/dry mediums on paper, with additional instruction in After Effects compositing workflow, and digital drawing. Weekly exercises will explore a variety of animation techniques

Media Arts

Hand-drawn Animation — MA2217.01

Fall 2021
Instructor: John Crowe
Credits: 2
Fundamentals of 2-D animation principles will be explored through drawing, from basic motion cycles to more imaginative movement and expression. Students will primarily work with wet/dry mediums on paper, with additional instruction in After Effects compositing workflow. Weekly exercises will explore a variety of animation techniques, from highly structured processes to
Visual Arts

Hans Christian Andersen — LIT2285.01

Spring 2018
Instructor: Brooke Allen
Credits: 2
Hans Christian Andersen (1805-75) is one of the most famous names in world literature, but the Hollywoodization of his most famous stories--not to mention of his own biography--have obscured, for many, the delicate, painful artistry of his incomparable tales. In this class we will read a wide selection of Andersen's stories, including classics like "The Emperor's New Clothes,"
Literature

Hans Christian Andersen — LIT2285.01

Spring 2014
Instructor: Brooke Allen
Credits: 2
Hans Christian Andersen (1805-75) is one of the most famous names in world literature, but the Hollywoodization of his most famous stories--not to mention of his own biography--have obscured, for many, the delicate, painful artistry of his incomparable tales. In this class we will read a wide selection of Andersen's stories, including classics like "The Emperor's New Clothes,"
Literature

Happiness — PHI2143.01

Spring 2019
Instructor: Douglas Kremm
Credits: 4
This course will examine a range of questions about the nature of happiness. What is happiness, and why does it matter? Is it the main thing we should pursue in life, or are there other things that are more important? Is it a kind of pleasant feeling, or is it something more "objective" than that? What assumptions about happiness are implicit in the ways that psychologists,
Society Culture and Thought

Haptic Media — MS2110.01

Spring 2023
Instructor: Teddy Pozo
Credits: 4
“Haptic” is a word that refers to the sense of touch, derived from a Greek root meaning to grasp, perceive, or fasten. Haptic technologies and haptic aesthetics may communicate through, or mediate this tactile sense between people. We often think of touch as doing things with our hands, but touch affects all parts of the body, playing a role in smell (particles entering the
Visual Arts Society Culture and Thought

Hardware and Fasteners — SCU2212.02

Fall 2020
Instructor: John Umphlett
Credits: 2
How many times have you been in a situation where you have one thing in one hand and something in the other and become puzzled about how to put them together? It exists in your mind how they need to exist, however there is a pause…In many ways it seems at first a riddle that doesn’t really have a solution because we are brilliant and imagine that only we, ourselves, have been
Visual Arts

Harlem the Northern Renaissance: New/Amsterg@ddam, 1450-now — AH4312.01

Spring 2025
Instructor: Vanessa Lyon
Credits: 4
In this transcultural, transhistorical upper-level course, we will study the crucial phases and practitioners of early modern Netherlandish art—-from Jan Van Eyck and Rogier van der Weyden to Clara Peeters plus Peter Paul Rubens, Rembrandt, Vermeer, and de Hooch. Then—we’ll recalibrate and look at the ways in which modern and contemporary artists of color, particularly Black
Visual Arts

Harlem the Northern Renaissance: New/Amsterg@ddam, 1450-now — AH4312.01

Fall 2021
Instructor: Vanessa Lyon
Credits: 4
In this transcultural, transhistorical upper-level course, we will study the crucial phases and practitioners of early modern Netherlandish art—-from Jan Van Eyck and Rogier van der Weyden to Clara Peeters plus Peter Paul Rubens, Rembrandt, Vermeer, and de Hooch. Then—we’ll recalibrate and look at the ways in which modern and contemporary artists of color, particularly Black
Visual Arts

Harmonic Spheres — MTH4130.01

Spring 2022
Instructor: Nicholas Brooke
Credits: 4
Composers and improvisers periodically reinvent the wheel, creating systems of scales and tunings, instruments, and even philosophies of harmony and rhythm. In this course, we’ll also explore how to invent your own systems. Beginning with tuning, students will build an acoustic or virtual instrument based on their own temperament. We will then explore harmonic systems that
Music

Harmonic Spheres — MTH4130.01

Spring 2019
Instructor: Nicholas Brooke
Credits: 4
Composers and improvisers periodically reinvent the wheel, creating systems of scales and tunings, instruments, and even philosophies of harmony and rhythm. In this course, we’ll also explore how to invent your own systems. Beginning with tuning, students will build an acoustic or virtual instrument based on their own temperament. The class will then explore harmonic systems
Music

Harmonic Spheres — MTH4130.01

Fall 2024
Instructor: Nicholas Brooke
Credits: 4
Composers and improvisers periodically reinvent the wheel, creating systems of scales and tunings, instruments, and even philosophies of harmony and rhythm. In this course, we’ll also explore how to invent your own systems. Beginning with tuning, students will build an acoustic or virtual instrument based on their own temperament. We will then explore harmonic systems that
Music