Spring 2025

Course System Home Course Listing Spring 2025

Select Filters and then click Apply to load new results

Areas of Study
Course Day & Time(s)
Course Level
Credits
Course Duration
Showing 25 Results of 343

Solo Performance — DRA4322.01

Spring 2025
Instructor: Kirk Jackson
Days & Time:
Credits: 4
Students develop original and/or primary source material and explore its shape, arc and thematic whole in a performance medium that can involve text, movement, characterization and personal observation / examination. We may reference the work of solo performance artists. Students write, edit, rewrite multiple drafts and perform original memorized material. Class work will be
Drama

Song for Ireland and Celtic Connections — MHI2251.01

Spring 2025
Instructor: John Kirk
Days & Time:
Credits: 4
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain and dance tunes of Brittany. An end-of-term presentation will be prepared drawing on
Music

Songwriting — MCO4002.01

Spring 2025
Instructor: Jen Allen
Days & Time:
Credits: 2
This class will focus on the art of songwriting. What makes a strong melody? What makes an effective chord progression? How do lyrics bring a simple song to life? What are the other elements of a song that can make it a compelling piece of music? We will study the music of great songwriters and compose pieces in the style of these great musicians. We will also work on bringing
Music

Songwriting Crimes and Recording Atrocities — MSR4369.01

Spring 2025
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
In this class, students will be given creative prompts that will expand their vocabulary, mixing, and orchestration in a studio context. Emphasis will be placed on genre-hopping, unconventional instrument pairings, studio trickery and delightfully awkward experimentation. Experience in songwriting and recording is a must, though we will work together to figure out ways to
Music

Spanish Through Film — SPA4222.01) (cancelled 6/3/2024

Spring 2025
Instructor: Sarah Harris
Days & Time:
Credits: 5
Students in this course will continue to learn the Spanish language through an immersion in Latin American and Spanish films. While there will be some focus on stylistic nuances, script-writing, acting, dubbing, and directors’ biographies, it is expected that we will continue to develop sufficient linguistic ability to focus on cinematographic and social movements. A

Spanish Through Song — SPA4259.01

Spring 2025
Instructor: Lena Retamoso Urbano
Days & Time:
Credits: 5
Students in this course will continue to learn the Spanish language through an examination of music. The focus of discussion will be on social, cultural, historical, and aesthetical aspects present in music. A consideration, for instance, of local, national, regional, and transnational identity; social justice; expressions of freedom; gender identity; different styles; and
Cultural Studies and Languages

Special Projects: Writers and Their Work — JPN4803.01

Spring 2025
Instructor: Ikuko Yoshida
Days & Time:
Credits: 4
This advanced-level course is designed for students to learn about two prominent contemporary Japanese writers and analyze their work. Students are required to research each Japanese contemporary writer and analyze how their personal background is reflected in their work of fiction. Students will also examine how Japanese society is depicted in their work and how the writers
Cultural Studies and Languages

Special Relativity — PHY4210.01

Spring 2025
Instructor: Hugh Crowl
Days & Time:
Credits: 2
Classical physics describes the motions of large things moving at slow speeds. That description of the universe, which physicists used to describe the motion of objects from apples to planets for hundreds of years, does not hold for objects moving very fast. In this class, we will look at how traveling close to the speed of light affects the physical properties of objects.
Science and Mathematics

Special Topics in Trans Lit: Spirituality — LIT2570.01

Spring 2025
Instructor: Zoe Tuck
Days & Time:
Credits: 4
“Batter my heart, transgender’d god” —Meg Day In this course, we will be reading and writing through work treating spirituality by trans and nonbinary writers. We will read writers from a variety of religious traditions and practices (including atheism), with varying degrees of orthodoxy or heterodoxy. As we do, we will let questions like, “What is the relationship of trans
Literature

Stars, Planets, Life — PHY2107.01

Spring 2025
Instructor: Hugh Crowl
Days & Time:
Credits: 4
In the last thirty years, the study of life beyond our own planet has gone from science fiction to legitimate science. The course will initially focus on how stars form and evolve, starting from the formation of the universe, and continuing to a discussion of stars as both the synthesizers of heavy elements and the central energy source for stellar systems. From there, we will
Science and Mathematics

Statistical Methods for Data Analysis — MAT2104.01

Spring 2025
Instructor: Andrew McIntyre
Days & Time:
Credits: 4
In this course, we will focus on developing the statistical skills needed to answer questions by collecting data, designing experimental studies, and analyzing large publicly available datasets. The skills learned will also help students to be critical consumers of statistical results. We will use a variety of datasets to develop skills in data management, analysis, and
Science and Mathematics

Statistics for Social Science — SOC4103.01

Spring 2025
Instructor: Emily Waterman
Days & Time:
Credits: 4
In this course students will learn to use social science statistics to test their own research questions, while becoming more educated consumers of statistical analyses presented in research and news sources. Students will employ various inferential statistics techniques commonly used in social science, such as confidence intervals, t-tests, chi-square testing, correlation,
Society Culture and Thought

Studies Lab — DAN5402B.02

Spring 2025
Instructor: Donna Faye Burchfield
Days & Time:
Credits:
Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is study different than research?  How? Or, as Kevin Quashie suggests, does study perhaps re-situate the

Studio Practice + Process: Dreaming as Code: Somatic Time Travels, Grooves, and Otherwise — DAN4823B.04

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
Studio Practice sessions will be a divulgence into pleasure practices. Students will engage in improvisation practices rooted in methods of bone deep listening, memory work, call and response, collective dream mapping, and storytelling. Phrasework will be offered as an invitation to engage in polyrhythmic technicality, groove based aesthetics, and playfulness in rigor and risk

Studio Practice + Process: Love’s Alchemy: Transformative Practices That Merge Notions of Ritual, Care, and Study — DAN4829B.01

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
The practice sessions are inspired and influenced by artist and choreographer Camille Brown. The movement practices investigate various styles of the African diaspora including but not limited to step dancing, body percussion, fusing and contrasting footwork, hip hop, and street dance. Students will be encouraged to explore in and through movement the “possibilities of the

Studio Practice + Process: The Ecstasy of Influence — DAN4822B.03

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 3
T/H/E E/C/S/T/A/S/Y O/F I/N/F/L/U/E/N/C/E How might other artists offer us glimpses of their tools and strategies for scaling conceits and concepts however simple or complex? How might we speculate, infer, convey and deploy those tools and strategies as approximated methods, borrowing and creating an actively relational network of useful and useless practices? This course is

Studio Practice + Process: Unfolding the Arc in Storytelling, Uncertainty/Improvisation, and Filmmaking — DAN4821B.02

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 3
In this course, we will immerse students into dance-theater, dynamic range of physicality, and how we can construct a lens that can witness and defy. Within Practice: We will challenge dynamic range, wild movement, shifting embodiment, texture, and world-building through contemporary dance forms, improvisation (jazz riffs), theatrical play and humanism, and rhythm. We will

Studio Practice: Architectures of Strength — DAN2506B.01) (changed to 1st 7 weeks - 1/7/2025

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 1
This studio practice course will utilize foundational strength training practices to help orient and organize the architectures of the body in relation to space and time. Concepts of curvature and linearity, the progressive mobilization of effort, and the question of how we meet and move space and how space meets and moves us will be addressed.

Studio Practice: Ballet Forms/Neoclassical and Contemporary Explorations — DAN4826B.02, section 2

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
This studio practice course in Ballet is based on the American style influenced by George Balanchine. We will deep-dive into our exploration of neoclassical and contemporary ballet modalities while focusing on anatomical alignment, strength, flexibility, coordination, connectivity, and expressivity. Through our practice, we will discover the freedom within the movement. The

Studio Practice: Ballet Forms/Neoclassical and Contemporary Explorations — DAN4826B.01, section 1

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
This studio practice course in Ballet is based on the American style influenced by George Balanchine. We will deep-dive into our exploration of neoclassical and contemporary ballet modalities while focusing on anatomical alignment, strength, flexibility, coordination, connectivity, and expressivity. Through our practice, we will discover the freedom within the movement. The

Studio Practice: Ballet Forms/Shared Practices — DAN4827B.01, section 1

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
Sheridan: This studio practice course in Ballet is based on the American style influenced by George Balanchine. We will deep-dive into our exploration of neoclassical and contemporary ballet modalities while focusing on anatomical alignment, strength, flexibility, coordination, connectivity, and expressivity. Through our practice, we will discover the freedom within the

Studio Practice: Ballet Forms/Shared Practices — DAN4827B.02, section 2

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
Sheridan: This studio practice course in Ballet is based on the American style influenced by George Balanchine. We will deep-dive into our exploration of neoclassical and contemporary ballet modalities while focusing on anatomical alignment, strength, flexibility, coordination, connectivity, and expressivity. Through our practice, we will discover the freedom within the

Studio Practice: Contemporary Forms/Diving In and Springing Out — DAN2505B.01) (cancelled 1/7/2025

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 1
An investigation of off-balanced yet precise multi-focused movement and partnering. Classes begin with mindful walking, rolling, and flow pattern practices followed by “yes dance” improvisations to gather our attention and set a tone of tender touch. From there, we progress through a series of spiraling sequences that establish a buoyant relationship with the floor, harness

Studio Practice: Contemporary Forms/Expansion and Continuity — DAN4824B.01, section 1

Spring 2025
Instructor: Tania Perez
Days & Time:
Credits: 2
The class integrates a technical movement base with short phrases of full, supple, expansive movements that prepare students to tackle complex phrases at the end of each class. The work in class is designed to enable the student to manipulate his or her energy and strength in ways that are sharp, clear, specific, and contained in one instance and wild, abandoned, expansive and