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Showing 25 Results of 7245

World Percussion Ensemble — MPF4470.01

Spring 2017
Instructor: Susie Ibarra
Days & Time:
Credits: 4
During this class we will examine composition and improvisation in percussion music that include rhythmic, harmonic and melodic structures. The class will also learn about the cultural and folkloric content of the music. Individually each student/player will lead the ensemble in a new work/s that incorporates musical techniques from the music studied in
Music

World Percussion Ensemble — MPF2253.01

Spring 2015
Instructor: Susie Ibarra
Days & Time:
Credits: 2
***Time Change*** In this class we will examine composition and improvisation through melodic, harmonic, rhythmic structures as well as important cultural and folkloric content in examples of music from traditional practices in various parts of the world. The ensemble will learn and perform music from Eastern Europe, Africa, Southeast Asia, Central Asia. Individually each
Music

World Vocal Ensemble — MPF4126.01

Spring 2015
Instructor: Kerry Ryer-Parke
Days & Time:
Credits: 2
***Time Change*** This class is for confident, adventurous singers wishing to study and perform full-throated music from regions where singing is part of the rhythm of everyday life. Meeting concurrently with the World Percussion Ensemble, we will collaborate on music from Eastern Europe, Africa, Southeast and Central Asia. We will learn about the distinctive sounds and
Music

World Vocal Ensemble — MPF4126.01

Fall 2017
Instructor: Kerry Ryer-Parke
Days & Time:
Credits: 2
This class is for confident, adventurous singers wishing to study and perform music from areas where group singing has strong roots in tradition.  We will explore different ways of producing vocal sound, such as the Balkan “hard voice”, the rounder sounds of South Africa, and the unusual tunings of Caucasus Georgia while learning about the secular and
Music

Worlding: Building in Digital Space — MA4108.01

Fall 2021
Instructor: Sue Rees
Days & Time:
Credits: 4
Unlike any other medium, animation provides unmatched suspicion of disbelief. Moreover, in digital space, one can exercise their imagination beyond material and physical limitations. The combination of the two provides the permissive space to live out our wildest reveries: utopias, dystopias, social experiments, psi-fic scenarios, or dollhouses for amphibians. This class can
Visual Arts

Wounded Literature: Trauma and Representation — LIT2262.01

Spring 2014
Instructor: Sarah Harris
Days & Time:
Credits: 4
This course will be a study of the paradox of trauma literature. Stories that compel their telling, yet are unassimilated and unspeakable, these works grow out of disasters on an individual and/or collective scale. To better understand Anne Whitehead's assertion that writers "have frequently found that the impact of trauma can only adequately be represented by mimicking its
Literature

Wounded Literature: Trauma, Memory, and Representation — LIT2262.01

Spring 2015
Instructor: Sarah Harris
Days & Time:
Credits: 4
This course will be a study of the paradoxes of trauma literature. Stories that compel their telling, yet are unassimilated and unspeakable, this writing grows out of disaster and crisis on an individual and/or collective scale. To better understand Anne Whitehead’s assertion that “Novelists have frequently found that the impact of trauma can only adequately be represented by
Literature

Wrestling With Finding Form in Dance — DAN2185.01

Spring 2026
Instructor: Dana Reitz
Days & Time: TU,FR 2:10pm-4:00pm
Credits: 4

How do we recognize and make fluid forms in dance? How do we find the structural current?  How do we experience time? How do we compose with care and thought using something that keeps moving?  How on earth do we do this? Looking at forms

Dance

Writers, Directors Workshop — DRA4388.01, section 1) (new course code as of 10/20/2023

Spring 2024
Instructor: Kirk Jackson
Days & Time:
Credits: 4
This project-based class will bring playwrights, directors, and actors together into a collaborative company to workshop new material or re-imagined previously published work. Four projects will share resources to bring the work to its next logical level, dependent on each project’s goal and process. Each project will share a bill with another for two performances. As with
Drama

Writers, Directors Workshop — DRA4388.02, section 2

Spring 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
This project-based class will bring playwrights, directors, and actors together into a collaborative company to workshop new material or re-imagined previously published work. Four projects will share resources to bring the work to its next logical level, dependent on each project’s goal and process. Each project will share a bill with another for two performances. As with
Drama

Writing a Life — LIT4510.01) (time change as of 11/11/2022

Spring 2023
Instructor: Benjamin Anastas
Days & Time:
Credits: 4
In this course, we will move chronologically through a life, from childhood to old age, with the help of sixteen different writers. We will read broadly (novels, plays, short stories) and focus on one key question at every life stage. As kids, we will investigate imperfect narrative voices and strategic silences. As teenagers, we will explore writing about politics with humor,
Literature

Writing Essays About Literature — LIT2102.01

Spring 2017
Instructor: Wayne Hoffmann-Ogier
Days & Time:
Credits: 4
Writing Essays is an introduction to writing clearly-constructed and logically-argued essays in response to reading, analyzing, and appreciating literary genre, including poetry, short stories, essays, plays, and novels. The course offers an analysis of the technical elements in literature: imagery, symbolism, metaphor, point of view, tone, structure, and prosody. The class
Literature

Writing Essays About Literature — LIT2102.01

Spring 2015
Instructor: Wayne Hoffmann-Ogier
Days & Time:
Credits: 4
Writing Essays is an introduction to writing clearly-constructed and logically-argued essays in response to reading, analyzing, and appreciating literary genre, including poetry, short stories, essays, plays, and novels. The course offers an analysis of the technical elements in literature: imagery, symbolism, metaphor, point of view, tone, structure, and prosody. The class
Literature

Writing Essays About Literature — LIT2102.01

Spring 2016
Instructor: Wayne Hoffmann-Ogier
Days & Time:
Credits: 4
Writing Essays is an introduction to writing clearly-constructed and logically-argued essays in response to reading, analyzing, and appreciating literary genre, including poetry, short stories, essays, plays, and novels. The course offers an analysis of the technical elements in literature: imagery, symbolism, metaphor, point of view, tone, structure, and prosody. The class
Literature

Writing Essays about Literature — LIT2102.01

Spring 2014
Instructor: Wayne Hoffmann-Ogier
Days & Time:
Credits: 4
Writing Essays is an introduction to writing clearly-constructed and logically-argued essays in response to reading, analyzing, and appreciating literary genre, including poetry, short stories, essays, plays, and novels. The course offers an analysis of the technical elements in literature: imagery, symbolism, metaphor, point of view, tone, structure, and prosody. The class
Literature

Writing Landscape — LIT2201.01

Fall 2014
Instructor: akiko busch
Days & Time: TBA
Credits: 4
"Nature is our widest home," Edward Hoagland once wrote, and the workshop would examine why this is so. The course would consider how the cycles, rhythms, and disturbances of the natural world have always had a place in American letters. Some students would have the opportunity to use their observations from and experience in fieldwork as raw material from which to develop
Science Mathematics and Computing Literature

Writing on Music — MUS2156.02

Spring 2022
Instructor: Carly Rudzinski
Days & Time:
Credits: 1
A brief, intensive workshop on writing about music, an essential act of multidisciplinary translation. We will read a range of short-form journalistic essays from across the musical spectrum. Students will write short concert and album reviews, developing a musical ear for language, while providing feedback and editing for each other. Special attention will be focused on
Music

Writing on Music — MUS2156.01

Spring 2022
Instructor: Nicholas Brooke
Days & Time:
Credits: 1
A brief, intensive workshop on writing about music, an essential act of multidisciplinary translation. We will read a range of short-form journalistic essays from across the musical spectrum. Students will write short concert and album reviews, developing a musical ear for language, while providing feedback and editing for each other. Special attention will be focused on
Music

Writing on Music — MOD2124.03

Fall 2016
Instructor: Nicholas Brooke
Days & Time:
Credits: 1
"Writing about music is like dancing about painting," goes a chestnut attributed to Elvis Costello. Yet the art of putting music into words is one of the oldest artistic collaborations. In this class, we'll look at examples of contemporary musical prose, and talk about this essential act of multidisciplinary translation. Students will write short concert and album reviews
Modules: Transferable Approaches

Writing on Music — MOD2124.04

Fall 2016
Instructor: Nicholas Brooke
Days & Time:
Credits: 1
"Writing about music is like dancing about painting," goes a chestnut attributed to Elvis Costello. Yet the art of putting music into words is one of the oldest artistic collaborations. In this class, we'll look at examples of contemporary musical prose, and talk about this essential act of multidisciplinary translation. Students will write short concert and album reviews,
Modules: Transferable Approaches Music

Written California, 1850s to the Present — LIT2374.01

Fall 2018
Instructor: Kathleen Alcott
Days & Time:
Credits: 4
“Though every prospect pleases, and only man is vile.” Traveling through the brand new state of California to conduct a survey of its geology, William. H. Brewer couldn’t help but think of this line from Heber. Even in its earliest iteration, California was a place where the fantasy of expansion—whether mental, geographical, technological—came at a dramatic cost. As the
Literature

YEAR ONE | SOCIAL PRACTICE as PUBLIC ACTION — APA4248.01) (cancelled 10/18/2023

Spring 2024
Instructor:
Days & Time:
Credits: 4
The YEAR ONE project asks you to imagine that you begin a new timeline for yourself starting now: whenever you begin, that’s your YEAR ONE. To participate in YEAR ONE, the question you ask yourself is, essentially, this: if you came to the conclusion that you couldn’t rely on currently existing systems and institutions to teach you the skills you need for a range of
CAPA

Yeats and Visions of the Apocalypse — LIT4167.01

Spring 2019
Instructor: Anna Maria Hong
Days & Time:
Credits: 4
This course takes William Butler Yeats’s poem “The Second Coming” as its starting point, launching from this often invoked poem to other poems and writings by Yeats that concern his unusual concepts of time, aging, and apocalypse including his prose work A Vision. We will examine Yeats’s prosodic choices regarding meter, rhyme, and form and how these musical decisions enhance
Literature

Yoga: Mindfulness and Cultivating a Peaceful Practice — DAN2023.01

Spring 2025
Instructor: Carly Rudzinski
Days & Time:
Credits: 1
This course will introduce students to the basic shapes and movements of yoga, along with a close reading of the yoga sutras. The yoga sutras serve as a guide to obtain wisdom and practice yogic philosophy in our everyday lives. Students will learn how to practice yoga on and off their mats, and will engage in exercises for both the body and mind. Beginners, intermediate, and
Dance