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Showing 25 Results of 7399

Graduate Teaching Fellowship in Dance — DAN5304.01

Spring 2024
Instructor: Dana Reitz
Days & Time:
Credits: 4
Graduate Teaching Fellows in Dance are integrated into the dance program as teaching assistants. In consultation with their academic advisors and the dance faculty, MFA candidates develop an assistantship schedule of approximately ten hours weekly; the courses they develop and teach are listed in the curriculum. All Teaching Fellows bring their own professional histories and
Dance

Graduate Teaching Fellowship in Dance — DAN5304.01

Spring 2025
Instructor: Elena Demyanenko
Days & Time:
Credits: 4
Graduate Teaching Fellows in Dance are integrated into the dance program as teaching assistants. In consultation with their academic advisors and the dance faculty, MFA candidates develop an assistantship schedule of approximately ten hours weekly; the courses they develop and teach are listed in the curriculum. All Teaching Fellows bring their own professional histories and
Dance

Graduate Teaching Fellowship in Dance — DAN5304.01

Spring 2026
Instructor: Dana Reitz
Days & Time: TBA
Credits: 4

Graduate Teaching Fellows in Dance are integrated into the dance program as teaching assistants. In consultation with their academic advisors and the dance faculty, MFA candidates develop an assistantship schedule of approximately ten hours weekly; the courses they develop and teach are listed in the curriculum. All Teaching Fellows

Dance (MFA)

Graphical Persuasion: Visualizing Data Appropriately — MAT2249.02

Fall 2020
Instructor: Andrew McIntyre
Days & Time:
Credits: 2
Information and data surround us. They inform what we do, the decisions we make, and what we ask of others. But how can we see what the data is telling us? How can we build graphical approaches that will allow us to make our own decisions—and help others see the patterns we are basing our decisions off of? By looking at the history of graphical data, and then building our own,
Science and Mathematics

Greek Historians as Literature — LIT4187.01

Spring 2014
Instructor: Dan Hofstadter
Days & Time:
Credits: 4
Precisely where the accounts of the major Greek historians stand in relation to fact is a matter of massive, ongoing scholarly inquiry. However that may be, the works of Herodotus, Thucydides, and Plutarch have always been regarded as brilliant contributions to literary art, albeit in different ways. Herodotus is a raconteur, venturing into the realm of folktale, fantasy, and
Literature

Greek Tragedy: Plays and Theory — DRA4105.01

Fall 2013
Instructor: Kathleen Dimmick
Days & Time: TBA
Credits: 4
This course investigates the great beginning of the western dramatic tradition in fifth-century Athens. We'll read plays by Aeschylus, Sophocles and Euripides and theories of tragedy by Plato, Aristotle, Nietzsche, and Hegel. Students will write two essays.
Drama

Grids and Layouts — DA2177.01

Spring 2024
Instructor: Farhad Mirza
Days & Time:
Credits: 4
This course is a basic introduction to analog and digital layouts for poster design, book-making, cutouts, fold-outs, stencils and other things that require the arrangement of information relative to how it will be presented. Students will begin by working on handmade projects (on regular and gridded paper) with the help of rulers and cutting mats, and eventually move to
Visual Arts

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

Fall 2018
Instructor: Kitty Brazelton Andrew Greenwald
Days & Time:
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 2017
Instructor: Kitty Brazelton, Composer Intern
Days & Time:
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
Days & Time:
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 — 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 2013
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
Days & Time:
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

Group Counseling — CMH5109.01

Summer 2026
Instructor: Faculty TBA
Days & Time: TBA
Credits: 3

This course introduces students to the theory and practice of group counseling. Students will learn about the stages of group development, group dynamics, and the roles of the group leader. Techniques for leading therapeutic, psychoeducational, and support groups are covered, and students will participate in experiential learning through group role-plays

Clinical Mental Health Counseling (MA)

Group Counseling in Expressive Arts Therapy — CME5005.01

Summer 2026
Instructor: Faculty TBA
Days & Time: TBA
Credits: 3

This course introduces students to the theory and practice of group counseling in expressive arts therapy. Students will learn about the stages of group development, group dynamics, and the roles of the group leader. Techniques for leading therapeutic, psychoeducational, and support groups are covered, and students will participate in experiential learning

Clinical Mental Health Counseling (MA) Expressive Arts Therapy