Spring 2015

One-on-one lessons, scheduled individually, available to students with previous study. Corequisite: Must participate in Music Workshop (Tuesday, 6:30-8pm).

One-on-one lessons, scheduled individually, available to students with previous study. Corequisite: Must participate in Music Workshop (Tuesday, 6:30-8pm).

One-on-one lessons, scheduled individually, available to students with previous study. Corequisite: Must participate in Music Workshop (Tuesday, 6:30-8pm).

This introductory course provides a comprehensive foundation for aspiring pianists. Topics include music notation, rhythm, piano technique, theory, history, sight-reading, ear-training, improvisation, and collaboration.

This introductory course provides a comprehensive foundation for aspiring pianists. Topics include music notation, rhythm, piano technique, theory, history, sight-reading, ear-training, improvisation, and collaboration.

Continuing course in basic keyboard skills.  Students already fluent with notation and with music in their plan are encouraged to take this level, or talk with the instructor.

Continuing course in basic keyboard study. Students already fluent with notation and with music in their plan are encouraged to take this level, or talk with the instructor.

"A human being is the best plot there is. " --John Galsworthy A beginning workshop in the fundamentals of playwriting, with exercises in such craft elements as structure, plot, dialogue, setting, gesture, and a special focus on inventing characters the audience can't forget. Assignments will include both written responses to readings and creative writing exercises that explore

This is a course on the relationship of complex systems to conflict analysis. Concepts such as self-organization and improvisation, emergence, pattern recognition and complexity, feedback loops, nesting and topologies will all be examined as aspects of how complex problems are constructed. "Thinking in Systems" by Donella Meadows is the primary text. By looking at the 10 Step

The recent tragic earthquake in Nepal thrust the small country of 25 million into the media spotlight, taking little time to reflect on the lives of those living in the damaged region. What is the existing political and cultural context into where this rebuilding effort will take place? What is the devastation and flood of aid money likely to alter? This course is a study of

What makes a neighborhood “sketchy”? This interdisciplinary course will consider the social processes through which contemporary spatial imaginaries are produced, reproduced, and reconfigured in the context of the contemporary United States. Broadly linked to questions of power, knowledge, and representation, this course will critically examine the spatial dimensions of

The question is what do you want to say? As we develop our interests in sculpture it becomes more and more imperative to find our own voice. The role of the artist is to interpret personal conditions and experiences and find the most affecting expression for them. This course provides the opportunity for a self-directed study in sculpture. Students are expected to produce a

Psychologists collect data about people and do so systematically. This course will use the history of psychology and look at classic psychological experiments as a way to think about experimentation itself: how do we answer the questions we really want to ask? Historically important experiments in social, developmental, abnormal and cognitive psychology will be read and

During the seventeenth century France rose to unparalleled heights of literary creativity. We explore the historical context of this development, devoting some attention to classical models, particularly Euripedes' play Andromache. Jean Racine, who was at times in conflict with the royal court, offered his tragedies Andromaque, Phedre, Berenice, Iphigenie, and others, which we

"Why read the classics?" Italo Calvino famously asked. What does it mean to be "contemporary"? Why is it that our meditations on, and debates with, these landmark works never seem to be "settled"? Why is it that some of our most deeply experimental, politically combative, and visionary writers continually find inspiration in canonical works? In our exploration of these

In this intensive poetry writing workshop, we will study essays, poetic theories, and manifestos that argue for varying models of perception and approaches to perception on the page. We will begin with 19th century poets such as Dickinson and Wordsworth and as the semester progresses, we will read increasingly more contemporary work: poets to be read may include Lorine

***Time Change*** Rilke and Walter Benjamin stalked Paris; Virginia Woolf and Charles Dickens walked London's streets at night; H.P. Lovecraft scoured the sewers underneath Providence; a whole universe of writers (Edith Wharton, Herman Melville, Joseph Mitchell) saw New York through unromantic eyes. In this course we'll read fiction and non-fiction about the city from across

***Time Change*** The lyric essay is a term given to work that is both poetic and discursive and that defies clear categorization. In these hybrid forms, the essayist may begin breaking into lines of verse, or poet may engage in a lengthier argument too rangy for the confines of a syllable count. In this course we will read Whitman's Specimen Days, Dickinson's letters, short

***Time Change*** Marx's ideas remain an important source of political and social science thought. This class requires students to engage in a close and critical reading of a number of Marx's essays and to assess his work in the light of critical philosophical responses. This course will be offered the first seven weeks of term.

For generations, the passage west and the idea of wilderness have provided resonant subject matter for American writers. In the words of Wallace Stegner, "the wilderness idea is something that has helped form our character and certainly shaped our history as a people." The course will explore how our understanding of wilderness has evolved from perceived notions of untouched

Our overriding aim is simple: to read, discuss, write about, and generally immerse ourselves in Geoffrey Chaucer's masterworks, The Canterbury Tales and Troilus and Criseyde. In that process, we'll aim to get sufficiently comfortable with Middle English to read, delight in, and even imitate that rich language. We'll also consider something of Chaucer's life and times as

Segues from MSR 2116.01 as the next step in in sound recording and mixing. We’ll working on advanced microphone technique, dynamic processing, producing, mixing, and mastering, starting start with hands-on A/B comparisons of microphone techniques, and capturing audio in diverse spaces around campus. The course will consider the merits of various formats, analog vs digital,

In this course, we will explore a selection of key texts from the colonial period to the 21st century that have helped to shape and to contest the contemporary ideals and ideas of American political thought. In the early weeks of the semester, we will cull intellectual themes from debates of the colonial and founding period, with a particular focus on moments in which

Sage City Symphony is a community orchestra which invites student participation. The Symphony is noted for the policy of commissioning new works by major composers, in some instances student composers, as well as playing the classics. There are openings in the string sections, and occasionally by audition for solo winds and percussion. There will be two concerts each term.

Hailed by many critics as the Great Indian Novel, Midnight's Children (1980) explores India's history, from Independence in 1947 up to the time of writing, in Rushdie's characteristically fantastic, energized style. One paper, 5-7 pages, will be required. This course will be offered Thursday, February 26 through Monday, March 16.