of the Arts

Undergraduate and Graduate

Course The University

Philadelphia College of Catalog Art and Design

Philadelphia College of 1999–2000 Performing Arts

College of Media and Communication

The University of the Arts 320 South Broad Street Philadelphia, PA 19102 1-800-616-ARTS 1 The University of the Arts is the nation’s only university devoted exclusively to education and professional training in design, visual, media, and performing arts. Located in central Philadelphia, The University of the Arts was founded in 1987 through the consolidation of two century-old institutions: the Philadelphia College of Art and the Philadelphia College of Performing Arts. A third academic unit, the College of Media and Communication, was established in 1996. Offering undergraduate and graduate degrees in communication, crafts, dance, graphic design, industrial and museum exhibition design, fine arts, illustration, media arts, multimedia, music, theater, writing, and museum and arts education, the University prepares its students to assume over 150 careers in traditional and emerging arts and related fields.

The University of the Arts 320 South Broad Street Philadelphia, PA 19102 215-717-6030 1-800-616-ARTS fax 215-717-6045 http://www.uarts.edu

The University of the Arts gives equal consideration to all applicants for admission and financial aid, and conducts all educational programs, activities, and employment practices without regard to race, color, sex, religion, national or ethnic origin, or disability. Direct inquiries to the Office of the Dean of Students/ ADA Coordinator, The University of the Arts, 1500 Pine Street, Philadelphia, PA 19102; (215) 875-2229. This catalog was updated as of July, 1999. The University of the Arts reserves the right to revise any information herein at its discretion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trademark symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark.

2 Contents

4 Academic Calendar 1999-2000 The University of the Arts PCAD Graduate Programs College of Media and Communication (CMAC) 6 Mission Statement 78 Graduate Programs 6 History of the University of the Arts 80 Master of Fine Arts in Book Arts/ 118 College of Media and Communication 6 Accreditation Printmaking 118 Minors 8 Admission 82 Master of Industrial Design 119 Communication 14 Tuition and Expenses 84 Master of Fine Arts in Museum 121 Multimedia 17 Financial Aid Exhibition Planning and Design 123 Writing for Film and Television 25 Academic Regulations 86 Master of Arts in Art Education 31 Student Services 87 Master of Arts in Museum Education 33 General Information 89 Master of Arts in 34 Code of Conduct Teaching in Visual Arts Course Descriptions 35 Student Code 90 Extended Degree Options 41 University Libraries 91 Master of Fine Arts in 126 Art Education 42 Academic Computing Ceramics, Painting, or Sculpture 128 Art Therapy 42 Guidlines for Responsible Computing 128 Communication 43 Continuing Education Programs 130 Crafts 44 Undergraduate Degree Requirements 135 Dance 45 Division of Liberal Arts Philadelphia College of 139 Dance Extension Performing Arts (PCPA) 140 Electronic Media 141 Fine Arts 94 Philadelphia College of Performing Arts 143 Foundation Philadelphia College of 95 The School of Dance 144 Graphic Design Art and Design (PCAD) 97 Ballet 146 Graduate Seminars 97 Jazz/Theater Dance 147 Liberal Arts 52 Philadelphia College of Art and Design 97 Modern Dance 158 Industrial Design 52 Undergraduate Programs 98 Dance Education 161 Illustration 55 Minors/Concentrations 98 Certificate in Dance 162 Museum Exhibition Planning 58 Foundation Program 99 Dance Extension and Design 60 Crafts 100 The School of Music 163 Multimedia 62 Crafts Studio Certificate Program 104 Bachelor of Music 165 Music 62 Fine Arts 106 Diploma in Music 172 Media Arts 63 Painting/Drawing 107 Certificate in Music Photography/Film/Video/Animation 64 Printmaking/Book Arts 107 MATPREP 175 Printmaking/Book Arts 66 Sculpture 108 Graduate Programs 178 Painting/Drawing 67 Graphic Design 108 Master of Arts in Teaching in 180 Sculpture 68 Illustration Music Education 181 Theater Arts 69 Industrial Design 110 Master of Music in Jazz Studies 185 UArts Course 70 Media Arts 112 The School of Theater Arts 186 Writing for Film and Television 71 Photography 115 Acting 72 Film/Video 115 Musical Theater 72 Animation 73 Film/Animation 189 Administration 74 Art Education 76 Art Therapy 189 Board of Trustees 190 Faculty Index

192 Index

197 Campus Map

3 Academic Calendar 1999-2000 Fall 1999 November Monday, November 1 thru Friday, November 12 August Advising for Spring 2000 registration Saturday, August 28 Student Residences open/Move-in Monday, November 8 thru Friday, November 12 English Placement Exam Registration for Spring 2000 Graduation Petitions for December ’99, May 2000 and Saturday, August 28 – Tuesday, August 31 (& Sat. Sept 4) August 2000 due to Registrar New Student orientation Thursday, November 25 thru Sunday, November 28 Monday, August 30 Thanksgiving vacation Advising/Registration for new transfers, graduate, and Residence Halls remain open readmitted students, 10:00 am – 3:00 pm Music Placement Exam December Thursday, December 9 Tuesday, August 31 Advising/Registration for new freshmen, 9:00 am – 3:00 pm Continuing Studies Fall session ends September Friday, December 10 Wednesday, September 1 Fall 1999 classes end Fall semester classes begin Late registration Saturday, December 11 Saturday School ends Wednesday, September 1 thru Tuesday, September 14 Drop/add period Monday, December 13 thru Friday, December 17 Late registration Examinations, critiques, and juries

Monday, September 6 Friday, December 17 Labor Day Holiday Grades due to Registrar Documents for students graduating December ’99 due to Registrar Friday, September 17 Drop/add period for PCPA ensembles ends Saturday, December 18 Saturday, September 18 Residence Halls close at 12:00 noon Dance Extension classes begin Dance Extension classes end

Monday, September 20 Continuing Studies Fall session begins Spring 2000 October January Saturday, October 2 Saturday, January 1 Saturday School begins New Year’s Day Holiday

Monday, October 4 Wednesday, January 5 Deans and directors submit Spring 2000 courses PCPA Academic Review Wednesday, October 6 Thursday, January 6 FOLLOW MONDAY CLASS SCHEDULE PCAD Academic Review Friday, October 15 CMAC Academic Review Last day for removal of Spring ’99 Incomplete (I) grades Thursday, January 13 Monday, October 18 New Student registration Automatic conversion from “I” to “F” grade Residence Halls open, 9:00 am

Friday, October 22 Thursday, January 13 & Friday, January 14 Last day to withdraw with a “W” grade New Student orientation

Saturday, October 23 Monday, January 17 Open House Martin Luther King Holiday 4 Tuesday, January 18 Tuesday, May 2 thru Monday, May 8 Spring semester classes begin Examinations Dance Extension begins Monday, May 8 thru Friday, May 12 Tuesday, January 18 thru Monday, January 31 Critiques and juries Drop/add period – for ALL classes Late registration Friday, May 12 Final grades due to Registrar Monday, January 31 Continuing Studies Spring session begins Saturday, May 13 Student residences close at 12:00 noon February Saturday, February 12 Wednesday, May 17 Saturday School begins Awards Ceremony Friday, February 25 Thursday, May 18 Deans/directors submit Fall 2000 courses to Registrar Commencement Ceremony Last day for removal of Fall ’99 Incomplete (I) grades Monday, February 28 Automatic conversion from “I” to “F” Summer 2000 March May Friday, March 3 Monday, May 15 Last day to withdraw with a “W” grade Summer session I begins Continuing Studies Summer session I begins Monday, March 6 thru Sunday, March 12 Spring Break/Residence Halls remain open Monday, May 29 Memorial Day Holiday Monday, March 13 Spring 2000 classes resume June Monday, June 19 Monday, March 13 thru Friday, March 17 Summer World of Dance begins PCAD Freshmen Major Orientation Week Dance Extension begins Freshman Major Selections due to Registrar, Friday 3/17 Wednesday, March 15 Friday, June 23 2000/2001 Financial Aid applications due Summer session I ends April Monday, June 26 Saturday, April 1 Summer session II begins Open House Continuing Studies Summer session I ends Monday, April 3 thru Friday, April 14 Wednesday, June 28 Advising for Fall 2000 registration PCAD Summer MFA program begins Monday, April 10 thru Friday, April 14 July Registration for Fall 2000 Monday, July 3 and Tuesday, July 4 Independence Day Holiday Saturday, April 22 Saturday School ends Friday, July 14 Summer World of Dance ends Monday, April 24 Dance Extension ends August Wednesday, August 2 Thursday, April 27 Dance Extension ends Continuing Studies Spring session ends May Friday, August 4 Summer session II ends Monday, May 1 Spring 2000 classes end Friday, August 18 Monday, May 1 and Tuesday, May 2 PCAD Summer MFA program ends Registration for Summer Sessions I & II 5 Mission Statement History of The University of the Arts The University of the Arts is devoted exclusively to education and training in the arts. Within this community of artists the process of learning engages, refines, and articulates all of our The University of the Arts has evolved from two century-old creative capabilities. Our institution was among the first to institutions: the Philadelphia College of Art and the Philadelphia contribute to the formation of an American tradition in arts College of Performing Arts. education. We continue to develop interpreters and innovators The Philadelphia College of Art (PCA) was formed in 1876 who influence our dynamic culture. along with the Philadelphia Museum of Art. Initially known as the Pennsylvania Museum and School of Industrial Art, the institution The University’s Mission Is: was established in response to the interest in art and the Art Centennial Exposition. In 1948, the school became known as the To educate and professionally train artists in the visual Philadelphia Museum School of Art, reflecting the expanded and performing arts, in design, in media and in writing; programs that trained artists in many other areas, including the fine arts. The school received accreditation in 1959, and in 1964 To grant graduate and undergraduate degrees, diplomas separated from the Museum to become the Philadelphia College and certificates in the arts; of Art. Today, the Philadelphia College of Art and Design (PCAD) To provide educational programs centered in the arts to of The University of the Arts offers curricula in crafts, design, fine multiple populations; arts, media arts, museum education, and art education. The performing arts programs of The University of the Arts date To encourage relationships among the arts; from 1870, when three graduates of the Conservatory of Leipzig opened one of the first European-style conservatories of music in To promote high standards in creativity and scholarship; America: the Philadelphia Musical Academy (PMA). PMA became an independent college of music in 1950, granting a To prepare artists who will contribute responsibly Bachelor of Music degree after a four-year course of study, one of to our culture; only eight such music colleges in the nation at the time. While To challenge students to think critically, joining knowledge still offering only a music program, the school changed its name to and skill to their individual creative vision; the Philadelphia College of Performing Arts (PCPA) in 1976, the first such college in Pennsylvania. One year later the former To anticipate and to cultivate new art forms as they emerge. Philadelphia Dance Academy became part of PCPA and in 1983 the School of Theater Arts was created, thus achieving the college’s The University of the Arts offers instruction across a broad ideal program of studies: dance, music, and theater arts. spectrum of artistic disciplines. We serve the community in which In 1983, PCA and PCPA joined to become the Philadelphia we reside, the professions for which we prepare new members, and Colleges of the Arts, and in 1987, The University of the Arts was ultimately the society whose culture we both sustain and advance. inaugurated. In the Fall of 1996, the University created a new The University’s goal is to direct each student’s quest for creative academic unit, the College of Media and Communication, which self towards a productive role in society. Our programs develop emphasizes the integration of art, technology, and communication. the student’s talent, aesthetic sensibility, conceptual and perceptual The first two BFA degree programs offered by this new college are acumen, cultural awareness and professional expertise. The Writing for Film and Television and Multimedia. A BS degree curricula integrate specific knowledge and skills needed for program in Communication begins in September 1999. technical mastery of the various arts disciplines with a significant The University of the Arts is the largest comprehensive educa- examination of conceptual and humanistic studies. tional institution of its kind in the nation, preparing students for To this end, the University must gather and retain a distin- professional careers in design, visual, media, and performing arts guished teaching faculty offering a breadth of professional expertise. and emerging creative fields. Their scholarly work and artistic exploration has national and international consequence for the institution. Our educational programs seek to stimulate and influence not only our students but the very disciplines that we teach. Accreditation

The University of the Arts has the approval of the Common- wealth of Pennsylvania to grant degrees in the visual, performing, and related arts and is accredited by the Middle States Association of Colleges and Schools (Commission on Higher Education, Middle States Association of Colleges and Schools, 3624 Market Street, Philadelphia, PA 19104; Telephone: 215-662-5606). The Philadelphia College of Art and Design is also accredited by the National Association of the Schools of Art and Design, and the Industrial Designers’ Society of America. The School of Music is also accredited by the National Association of Schools of Music.

6 Philadelphia College of Degree Programs

Art and Design Bachelor of Fine Arts Acting The Philadelphia College of Art and Design offers the Bachelor Animation of Fine Arts degree in Animation, Crafts, Film/Video, Graphic Ballet Design, Illustration, Painting, Photography, Printmaking/Book Arts, Crafts and Sculpture. A major in Industrial Design leads to the Bachelor of Dance Science degree. Crafts offers a post-baccalaureate certificate program. Dance Education At the graduate level are programs leading to the degrees of Film Master of Arts in Art Education, Master of Arts in Museum Film/Animation Education, Master of Industrial Design, Master of Arts in Teaching Graphic Design in Visual Arts, Master of Fine Arts in Book Arts/Printmaking, Illustration Master of Fine Arts in Museum Exhibition Planning and Design, Jazz/Theater Dance and a low-residency summer Master of Fine Arts in Ceramics, Modern Dance Sculpture or Painting. Teaching certification is offered on a non- Multimedia degree basis, either independently or in conjunction with an Musical Theater undergraduate degree in the Philadelphia College of Art and PAFA Coordinate Program Design. Concentrations in Art Therapy and Digital Fine Arts are Painting and Drawing offered, as well as seven minor programs. Photography Printmaking Sculpture Writing for Film and Television Philadelphia College of Bachelor of Music Performing Arts Composition Music Instrumental Performance The School of Dance offers four-year Bachelor of Fine Arts Vocal Performance degrees in Ballet, Modern, and Jazz/Theater Dance Performance, Dance Education, and a two-year Certificate in Dance. Bachelor of Science Communication The School of Music offers a four-year Bachelor of Music Industrial Design degree in Vocal Performance, Instrumental Performance with a jazz/contemporary focus, or Composition. In addition, a Master of Fine Arts four-year Undergraduate Diploma and two-year Certificate of Book Arts/Printmaking Music are offered. Ceramics At the graduate level, the School of Music offers the Master Museum Exhibition Planning and Design of Arts in Teaching in Music Education and the Master of Music Painting in Jazz Studies. Sculpture The School of Theater Arts offers the Bachelor of Fine Arts in Theater Arts, with majors in Acting or Musical Theater. Master of Arts Art Education Museum Education College of Media and Master of Arts in Teaching Music Education Communication Visual Arts Founded in 1996, this new college currently offers three Master of Industrial Design degree programs. Leading to the Bachelor of Fine Arts degree are the four-year programs in Writing for Film and Television Master of Music and in Multimedia. There are also minors in Information Jazz Studies Architecture and in Multimedia. The four-year program in Communication, with concentrations in Advertising, Certificate Cyber-journalism, and Documentary Media Production, leads Dance to the Bachelor of Science degree. Music Diploma Dance Music

7 or Permanent Residents is $75. The University of the Arts will Admission waive the application fee in cases of extreme family financial need. A fee-waiver request is required from a high school guidance Barbara Elliott counselor, two-year college counselor, or other authorized person. Director of Admission 2. Secondary School Record. An official copy of the secondary First Floor, Dorrance Hamilton Hall school transcript is required of all applicants. A curriculum of 215-717-6030 college preparatory subjects is recommended. Specific course distribution is not required, although a minimum of four (4) years The admission requirements and procedures are designed to help of English and two (2) years of history is strongly recommended. the University select, from among the men and women applying, Remaining courses should be selected from the approved college those best qualified to benefit from the educational opportunities at preparatory program, including study in languages, mathematics, The University of the Arts. The University prefers applicants who science, humanities, art history, psychology, and sociology. These express themselves through visual images, performance, and creative courses should be augmented by study in visual art, music, dance, writing; who demonstrate intellectual abilities through their drama, or creative writing. academic record; who wish to increase their awareness of themselves Applicants not holding a regular high school diploma may and their world; who address their environment in a positive, qualify for admissions consideration upon conversion of the General individualistic manner; and who bring energy, concern, and humor Education Development Test (GED) to a state diploma through the to their inquiry. The University values diversity, liveliness, Department of Public Instruction of the applicant’s resident state. thoughtfulness, and curiosity, and seeks in its students a broad range 3. Standardized Test Scores. The submission of official standard- of intellectual, artistic, extracurricular, and personal energies. ized test scores is required for admission. The SAT, SAT 1, or ACT Admission is offered without regard to race, color, national or ethnic are acceptable. Applicants with a diagnosed learning disability or origin, religion, sex, sexual orientation, marital or parental status, other qualifying impairment may submit nonstandard-administra- age, or handicap. Each applicant is considered individually, and the tion test results. Test results should be sent to the University Director of Admission may make an exception to any requirement. directly from the testing agency. The University of the Arts’ CEEB Each college at The University of the Arts has special code is 2664. Candidates for admission from Puerto Rico or Latin admission criteria related to its course of study. Admission to America may substitute or augment the SAT or ACT with the The University of the Arts is based on both academic performance Prueba de Aptitud Académica (PAA). and artistic development. The admission committee examines Applicants who have completed a college level English Composi- every applicant’s academic record for evidence of rigorous, scholarly tion course with a grade of “C” or better, or applicants who have preparation. In addition, each college at the University has been out of school for more than five years are not required to separate requirements for evaluating a candidate’s artistic progress. submit the standardized test scores. Entrance to the College of Art and Design is based on a visual 4. English Language Proficiency. Applicants for whom English portfolio presentation. The College of Performing Arts requires is not their first language are required to demonstrate proficiency in students to pass an audition in their specific discipline. The English. The TOEFL is required for applicants who have been College of Media and Communication asks candidates to present educated in non-English-speaking countries. United States a media or writing portfolio. Because the portfolio and audition educated students whose first language is other than English are requirements are specific to each program, interested applicants required to submit the results of the SAT II English Language should contact the Admission Office for a full explanation of Proficiency Test (ELPT). The ELPT is offered as an achievement the University’s expectations. test through CEEB. Since admission to the University is based upon a combination of 5. Recommendations. Applicants are required to submit a letter factors, students should be aware of all of the admission requirements of recommendation from a teacher, guidance counselor, or em- when submitting an application and realize that the Admission ployer. Recommendations should comment on the applicant’s Committee will base its decision on the sum total of these factors. demonstrated abilities in the arts, maturity, ambition, determina- tion, and seriousness of purpose. 6. Personal Statement. All applicants are required to submit a Undergraduate Application Process 150-300 word statement that describes their personal reasons for All applicants are encouraged to visit The University of the Arts choosing to study the arts and the influences that led to this choice. for an information session and portfolio review or audition. The statement should be typed on a separate sheet of paper and Information sessions with the Admission staff offer students and attached to the application. The applicant should list his/her name, their families the opportunity to learn more about the application Social Security number, and the semester for which he/she seeks process, programs of study, campus life, and financial aid. Portfolio admission on the Statement. reviews or auditions are part of all applicants’ entrance require- 7. Artistic Presentation. Refer to the Portfolio and Audition ments and are separate from the information sessions. In addition requirements published in the application packet. to demonstrating their artistic abilities during the portfolio review 8. Interview. Although not required, all applicants are encour- or audition, students should be prepared to discuss their academic aged to visit The University of the Arts and interview with a record, personal achievements, extracurricular activities, and member of the Admission staff or University faculty. Applicants to professional goals. the College of Art and Design are expected to present their portfolio 1. Application Form. All candidates are required to submit a during the interview. Applicants to the College of Performing Arts completed application for admission and $40 application fee. The or the College of Media and Communication should be prepared to application fee for international applicants who are not US citizens discuss their academic record, personal achievements, extracurricu- lar activities, and goals. The interview also provides the applicant 8 with an opportunity to ask questions about the University. College of Art and Design Applicants should feel free to note questions about the application Upon completion of the preliminary credit evaluation, the process, programs of study, courses, instructors, student life, or applicant will be invited to schedule an interview and portfolio financial aid and bring these with them to the interview. review with a faculty member from the major department. If 9. Financial Aid, Federal Loans, Scholarships. Obtain the Free unable to attend a personal interview, refer to the University’s Application for Federal Student Aid (FAFSA) from a high school Portfolio and Audition Brochure for specific requirements. guidance counselor if applying for financial aid or scholarship. Submit the FAFSA to the Federal Student Aid Program by Advanced Standing February 15 for priority consideration. List The University of the Students transferring into the second or third-year level studios Arts as the institution to receive your information. The Title IV of major departments are considered advanced standing candidates. Code for The University of the Arts is 003350. The first year in the College of Art and Design includes 21 credits of studio classwork in the Foundation core (Drawing, Two- Dimensional Design, Three-Dimensional Design, and an optional Transfer Applicants course, Time and Motion) and elective courses. Students who Transfer students are admitted to The University of the Arts have completed between 18 and 21 credits in studio and who under policies that vary from College to College. The University have studied in the foundation areas may be considered for considers any applicant who has been enrolled in a college-level advanced status. program of study after secondary school to be a transfer applicant. Decisions concerning admission to a major department, class Transfers enjoy a preferred position among applicants for admission standing, and mandated prerequisites are made by major-depart- since it can be assumed they have matured in their goals and have ment faculty upon an evaluation of the admission portfolio and demonstrated their abilities at the college level. preliminary transfer-credit analysis. Transfer Application Requirements Three-Year Transfer The application process for undergraduate transfer students is Applicants who have not had substantial studio instruction but the same as for freshmen with the exception that, in addition to the who present a minimum of 21 transferable credits in liberal arts process described in the above section, applicants must have sent may qualify for the three-year transfer program. Under this official transcripts from all colleges attended. Candidates should program, students have the opportunity to fulfill the College of Art include a listing of any courses in which they are currently enrolled and Design’s graduation requirements in three years. In the first or intend to complete prior to matriculation at The University year, the Foundation Program curriculum is combined with studies of the Arts. To aid in the assessment of transfer credits, a catalog in the major department. If approved by both the Foundation containing the course descriptions, credit assignment, and credit- Program and major-department chairpersons, the transfer student hour ratio for each college attended should be sent to the Office of may attain third-year status at the start of his or her second Admission. A minimum G.P.A. of 2.0 is required for transfers. year. This program imposes an extremely demanding schedule and is best suited to mature students who have definitely decided Transfer of Credit upon a major. Students may receive credit for courses taken at other regionally accredited institutions that are similar in content, purpose, and Freshman Transfers standards to those offered at The University of the Arts. A Transfer students with fewer than 21 transferable liberal arts minimum grade of “C” is required in order to present a course for credits and without qualifications for advanced standing in studio transfer credit. Only credits are transferable, not grades. should expect to be registered for the Foundation Program and Students are given a preliminary transfer credit evaluation at anticipate being enrolled at The University of the Arts for the the time of admission; final award of transfer credit and placement equivalent of eight semesters. Those who qualify for either the level is subject to receipt of final official transcripts and verification three-year program or advanced standing but wish to take advan- by the registrar at the time of enrollment. tage of the Foundation Program and elective courses may also apply as freshman transfers. Residency Requirements The time it takes for a student to reach graduation will College of Performing Arts depend upon the time needed to fulfill The University of the Arts’ At the time of the entrance audition, the appropriate Audition degree requirements. Committee evaluates the applicant’s performance with respect to Every transfer student must complete a minimum of four full- the level of achievement required for advanced standing. Transfer time semesters in residence preceding graduation and must earn a credit in the major may be granted for comparable previous minimum of 48 credits in studio and/or liberal arts courses. undergraduate credit earned, up to the level of placement. Transferable credits will be applied only to the specific studio and Transfers to the College of Performing Arts are not given liberal arts requirements stipulated for a UArts degree. For this credit for studio courses until after the completion of the first reason, transfer students may be required to remain in residence at semester at The University of the Arts. Transfer students to the the University for more than the minimum four semesters and to College of Performing Arts should assume that they will receive complete more than the minimum 48 credits, despite the number of freshman status unless advanced status is clearly indicated in credits earned at previously attended institutions. Transfer credit is their letter of admission. evaluated by the department chair or school director and the Director of Liberal Arts in consultation with the Office of the Registrar. 9 College of Media and Communication Deferred Admission Transfer applicants to Writing for Film and Television, Undergraduate and graduate students who are admitted to Multimedia, and Communication are evaluated on an individual The University of the Arts and then wish to defer their admission basis, depending on the nature of prior educational experience must submit their requests, in writing, to the Office of Admission. and demonstrated creative abilities. If permission is granted, a $300 nonrefundable tuition deposit must be paid in order to confirm enrollment for the following semester or year. Deferred students who enroll in a degree program Application Notification at another institution in the interim will not retain their deferred Applications are reviewed on a rolling basis beginning in status; they must reapply to the University as transfer students. December for fall admission and September for spring admission. Deferred candidates are also required to submit a statement of Priority is given to fall candidates who file an application by March activities and reaffirm their intent to enroll at The University 15, although the University will accept and review applications as of the Arts. Candidates seeking fall or summer enrollment must long as space in the class is available. All applicants are notified by file this statement by January 15; spring candidates must submit mail of the Admission Committee’s decision. Generally, students this statement by November 15. Students are permitted only can expect to receive notification of the decision within two weeks one deferment. of completing all admission requirements. Those who are not approved for deferred admission may reapply for the following year. A new application form must be filed with a reapplication fee of $10; additional credentials may be required. Tuition and Housing Deposits Applicants who are offered admission and wish to enroll at The University of the Arts are asked to submit a $300 tuition deposit Early Admission within two weeks of the offer of admission to reserve a place in the Extremely capable students may be ready for college before they entering class and receive an application for student housing. The have completed the normal four-year secondary school program. tuition deposit is credited to the student’s first-semester tuition The University welcomes applications from those who feel they are charges and may be refunded if the student cancels his/her fall scholastically and artistically prepared, and sufficiently mature– enrollment in writing prior to the May 1 Candidates’ Reply Date. personally and socially–to undertake college work. Requests for a refund of the tuition deposit that are postmarked Early Admission candidates must be able to fulfill either of the after May 1 cannot be honored. Tuition deposits for spring following conditions: admission are not refundable. After May 1, the Admission staff 1. By taking an overload during the junior year of high school or assumes that a student’s tuition deposit to The University of the summer courses, the applicant is able to complete high school Arts is his/her only deposit. The University reserves the right to diploma credit requirements and receive the diploma before cancel the offer of admission if a student posts a tuition deposit at enrolling at the University. another college or university. 2. Under a written agreement, the candidate’s high school A $200 housing deposit is required to reserve a student’s space in authorities grant the applicant a high school diploma upon the dormitory facilities. After June 1, space is available on a first- completion of the freshman year at The University of the Arts. come, first-served basis only. The tuition deposit is required before the housing deposit activates the housing reservation. All deposits must be made in U.S. dollars. Housing deposits Conditional Admission are not refundable. The University of the Arts has designed alternative admission During the summer, information concerning orientation, programs to consider those whose potential may not be indicated in registration, and housing assignment is sent to all deposited standardized test scores or class rank, or who have had limited students. formal training in the arts. Offers of admission may specify one or more of the following conditions: 1. Pre-Freshman Enrichment Program. The admission of freshman applicants to the College of Art and Design or the Multimedia program may be contingent upon successful comple- tion of the University’s Summer Pre-Freshman Enrichment Program (PREP). This condition is made when the application review indicates that additional preparation in studio and/or academics is necessary to ensure the student’s success in the first year curriculum. PREP includes studies in drawing, two-dimen- sional and three-dimensional design as well as courses in writing and art history. Classes are scheduled for a six-week session, with thirty hours of instruction per week. PREP is a noncredit program, but grades are given to measure performance. A minimum 2.0 (C) grade point average indicates successful completion.

10 2. Academic Warning. A student who is admitted under International Baccalaureate Academic Warning must achieve a “C” (2.0) grade point average The University of the Arts recognizes the International Baccalau- at the end of the freshman year in order to be promoted to reate Examination (IB). The University may award 6 credits sophomore standing. toward the liberal arts requirements for a score of 4 or better in a 3. Academic Achievement Program. Applicants may be higher level (HL) examination and 3 credits for a score of 4 or required to participate in the Academic Achievement Program better in a subsidiary level (SL) examination in an academic subject. (AAP). The purpose of the program is to provide developmental An official report of scores on the IB exams should be sent to the maintenance and transition services to students who, because of life Office of Admission for evaluation. Students are notified of the circumstances, may not have achieved their potential in secondary credits awarded prior to registration. school and need additional preparation in art and academics to ensure their success. AAP is funded by the Commonwealth of Credit from Nonaccredited Institutions Pennsylvania’s Higher Education Opportunity Act (ACT 101). Based on the student’s portfolio, credit may be awarded at the Students selected to participate in the program must be Pennsylva- time of admission by the department chairperson of the intended nia residents and meet the family income eligibility guidelines major. The maximum number of credits awarded may not exceed established by the Commonwealth of Pennsylvania. the number of credits earned at the nonaccredited institution (as adjusted to conform with the University’s credit evaluation policies). These credits may be assigned to fulfill specific require- Advanced Placement ments of The University of the Arts degree as agreed upon by the department chair or director, and the registrar. CEEB Advanced Placement Program The University of the Arts may award three credits toward Credit by Portfolio the liberal arts requirements for a score of 4 or better in any CEEB A maximum of 18 credits may be granted by portfolio review Advanced Placement Examination in an academic subject. An for artistic experience independent of any course work. Credit by official report of scores must be submitted to The University of portfolio is granted only for studio work done prior to matricula- the Arts directly from The College Board, Advanced Placement tion at The University of the Arts. Academic standing and course Program, Princeton, NJ. AP credit is not given for studio art credit based on portfolio review are determined by the appropriate or performance. Students are notified of AP credits awarded department chairperson during the admission process. This prior to registration. portfolio work cannot have been part of the assigned work for a secondary or post-secondary course. College Level Examination Program (CLEP) The University of the Arts cooperates with the College Examina- Credit by Audition tion Board in its College Level Examination Program (CLEP). Students who qualify may be granted credit by audition in Credits may be awarded for Subject Examinations in composition performance subjects. Audition credit requires the approval of the and literature, foreign language, history and social studies, or Audition Committee and the school director. Academic standing science and math depending on the score earned in the examination and course credit based on the audition are determined during the and other factors as follows: admission process. 1. The credit must be directly applicable to the student’s degree requirements. 2. The credits cannot be used to fulfill upper-level course requirements. 3. The total number of credits awarded through CLEP is limited to 12. 4. A score equivalent to the minimum acceptable score or higher as recommended by the American Council on Education is necessary. College-level Course Work The University may also award credit for college work com- pleted while the student was still in high school. Applicants who have taken college courses should arrange to have their college transcripts sent to the Office of Admission for transfer-credit evaluation. Students should also send official descriptions of the college courses so that the University can make accurate evalua- tions. Transfer credit cannot be granted for courses that were taken to fulfill high school graduation requirements nor for credits earned in a dual enrollment program that granted secondary school and college credit for the same course. Credit will not be granted for pre-college programs.

11 International Students 3. Certification of Finances. International students who plan to Applicants who are neither US citizens nor Permanent Residents enroll at the University are responsible for all of their educational are considered International Students. The University encourages and personal expenses for the full duration of their education at The international candidates with strong academic and artistic qualifi- University of the Arts. Certification that these financial obligations cations to apply for admission to The University of the Arts. can be met is required in order to qualify for the F-1 visa. A International students who apply to the University should follow Certification of Finances form is sent to international students upon the procedures outlined in the appropriate section of this catalog. receipt of their application. The form must be completed in International applicants should also be aware of the following English and notarized by a bank official. This statement must additional requirements and procedures: declare the availability of funds of at least (US) $28,000 to cover 1. English proficiency. Applicants to the undergraduate the cost of one year of education and personal expenses. The I-20, programs whose first language is other than English are required to used to apply for the F-1 visa, will not be issued without a valid demonstrate their proficiency in English in one of two ways: Certification of Finances. Submit official scores from the Test of English as a Foreign 4. Financial Aid. Financial aid is not available for international Language (TOEFL). A minimum score of 500 on the paper-based students, nor are international students eligible for installment test and 173 on the computer-based TOEFL is required for payment plan programs. admission to the undergraduate programs, 5. Scholarships. A limited number of partial merit scholarships or may be awarded to international students who demonstrate Complete Level 109 in the English Language Program offered outstanding academic and artistic achievement and potential. by any one of the more than 20 ELS Language Centers located International merit scholarship recipients are notified of the throughout the USA. Information about these programs can be scholarship award within two weeks of the offer of admission. obtained directly from: ELS Language Centers 5761 Buckingham Parkway Culver City, CA 90230 USA Telephone: (310) 642-0988 FAX: (310) 410-4688 International candidates for admission to a graduate program, whose first language is other than English must present an official TOEFL score of 550 or above, or complete Master’s Level 201 in the English Language Program offered by any of the ELS Language Centers located throughout the US. Information about these programs can be obtained directly from ELS Language Centers, as listed above. 2. Transcripts/Mark/Grade Sheets. All applicants must provide a complete, notarized transcript from every school attended on the high school/secondary level and postsecondary level. Each transcript must be translated into English by a certified translator and the translation must be notarized. International students who wish to be considered for advanced standing and receive transfer credit for coursework already completed should submit an Evaluation of Foreign Educational Credentials Comprehensive Report from the Academic Credentials Evaluation Institute (ACEI). International applicants to the graduate programs are also required to submit a Comprehensive Report from ACEI. It is the applicant’s responsibility to contract with ACEI directly for this service. Instructions and application for foreign credentials evaluation can be obtained directly from: Academic Credentials Evaluation Institute, Inc. PO Box 6908 Beverly Hills, CA 90212 USA Telephone: (310) 559-0578 FAX: (310) 204-2842 www.acei1.com

12 Admission Requirements for 6. Interview: A personal interview with the director of the program to which the candidate is applying is strongly Graduate and Post-Baccalaureate recommended. Appointments should be scheduled directly Programs with the department. The University of the Arts offers these graduate degrees: Master 7. English Language Proficiency: Applicants for whom of Fine Arts degrees in Book Arts/Printmaking, Museum Exhibi- English is not their first language are required to demonstrate tion Planning and Design, Ceramics, Painting, and Sculpture; proficiency in English. The Test of English as a Foreign Language Master of Industrial Design; Master of Arts in Art Education; (TOEFL) is required for applicants who have been educated in Master of Arts in Museum Education; Master of Arts in Teaching non-English-speaking countries. A minimum score of 550 on the in Visual Arts; Master of Arts in Teaching in Music; Master of paper-based test and 213 on the computer-based test is required Music. In addition to the graduate programs, The University of for graduate admission. the Arts also offers post-baccalaureate non-degree programs in 8. Financial Aid: Obtain the Free Application for Federal Crafts and teacher certification in visual arts. Student Aid (FAFSA) and a Stafford Loan Application if applying Applications for fall admission should be submitted by March 1 for financial assistance. Submit the FAFSA to the Federal Student for priority consideration. After March 1, applications will be Aid Program by February 15 for priority consideration. The Title accepted on a space-available basis. Applications for spring IV Code for The University of the Arts is 003350. A Financial Aid admission (education and post-baccalaureate programs only) should Transcript (FAT) must be requested from the Financial Aid Office be submitted by November 15. of each college or postsecondary institution attended. The FAT Applications for the MFA program in Ceramics, Sculpture, and should be sent to The University of the Arts’ Office of Financial Painting are accepted for summer only. These applications should Aid. Please review the catalog section on Financial Aid for more be filed by February 15 for priority consideration. After February complete information about application procedures. 15, applications will be accepted on a space-available basis. Graduate students who wish to be considered for grant assistance should contact their department for additional information. Transfer of Credit 9. Special Requirements for graduate education applicants: A maximum of six credits may be transferred and applied Students entering the MA and MAT programs should hold a toward graduate degree requirements with the approval of the bachelor’s degree in art or music, including at least 40 semester program director and registrar. Only those graduate courses hours of studio credit with a “B” average. Applicants to the MA in which a grade of “B” or higher has been earned may be program in Museum Education must have completed 18 semester considered for transfer credit. hours in Art History, including a comprehensive survey course and a course in Twentieth-Century Art. Deficiencies in this Graduate Application Requirements minimum must be made up as prerequisites or corequisites; a All applicants for admission to graduate study at The University maximum of 12 such credits may be taken while a matriculated of the Arts must hold a bachelor’s degree from a U.S. institution graduate student. With approval of the program director, a which is accredited by a recognized regional association or have the maximum of six studio credits may be applied to the elective equivalent of a bachelor’s degree from a foreign institution of requirements in the program. acceptable standards. 1. Application Form: All candidates are required to submit a Graduate Portfolio and Audition Information completed graduate application for admission and $40 application Every student applying to the College of Art and Design must fee. The fee for international applicants who are not US citizens or submit a portfolio of his/her work. Every student applying to Permanent Residents is $75. The application fee will be waived for the College of Performing Arts must audition. An application University of the Arts’ alumni. must be filed with the Admission Office before a portfolio review 2. College Transcripts: An official transcript from each under- or audition is scheduled. Please refer to the Graduate Application graduate and graduate school attended is required of all applicants. Form for specific requirements. 3. Recommendations: Applicants are required to submit three letters of recommendation. Two of these recommendations must Crafts Studio Post-Baccalaureate Certificate come from professors or professionals in the area of the student’s Admission to the Craft Studio Program is based on portfolio and intended major who are familiar with the applicant’s capabilities interview. The program is designed for students who already hold and credentials. an undergraduate degree. Applications may be obtained from the 4. Personal Statement: All applicants are required to submit a Office of Admission. See Bachelor’s Degree Holders in the Financial one to two-page statement that describes their professional plans Aid section of the catalog for additional information. and goals. The statement should be typed on a separate sheet of paper and attached to the application. Applicants should list name, Post-Baccalaureate Pre-Certification Social Security number, and the semester for which they seek Concentration in Art Education admission on the statement. Candidates for this program must hold a BFA or BA in Art, or 5. Proof of Secondary School Graduation: An official copy equivalent, with a minimum of 40 semester credits in studio and of the secondary school transcript or diploma is required of all 12 semester credits in Art History with a minimum of a “B” applicants. The Commonwealth of Pennsylvania requires that The average. Students who wish to pursue teacher certification apart University maintain this information on file for all undergraduate from a degree program should do so as non-matriculated students and graduate students. through The University of the Arts’ Continuing Studies Office.

13 Tuition and Expenses Schedule of Annual Graduate Charges and Fees 1999-2000 Academic Year Full-time tuition $ 16,200 (9-18 credits/semester) Undergraduate Tuition and Fees Tuition per credit $ 820 Annual tuition is charged to all full-time undergraduate students, General Student Fee $ 600 (all full-time students) with one-half payable prior to the start of each semester. Full-time students carry a minimum of 12 credits per semester and may carry up to 18 credits without incurring additional charges. Excess credits are subject to additional charges at the standard semester Tuition Payments and Financial credit rate. Permission of the dean of the appropriate college is Responsibility required for a student to carry more than 18 credits in one semester. Payment in full for each semester is required before students may In addition to the annual tuition charge, all students registered attend classes. Tuition invoices are mailed to students each July for 12 credits or more are required to pay an annual general student and November. The first-semester bill must be paid by mid- fee. The general student fee is applied toward the cost of library August and the second-semester bill must be paid by mid- facilities, studio and computer operations, orientation, student December. Any amount unpaid after the due date as indicated on activities, and special services, including health services, placement, the invoice is subject to a late payment fee of $60 unless an and registration. The annual general student fee is not refundable. alternative payment plan has been arranged through TMS (see Students registering for fewer than 12 credits are charged per “Payment Plans”). Settlement of all financial obligations of the credit. There are no other mandatory course fees or charges except University rests with the student, or the student’s parents if the for deposits and the cost of expendable materials in selected studio student has not attained independent adult status. classes. Reservation deposits for housing and tuition are credited to Failure to receive an invoice does not excuse a student from the student’s bill and are not refundable. paying tuition and fees before attending classes each semester. Student accounts are considered settled when students receive Schedule of Annual Undergraduate Finance Office Approval and a validated ID card. Charges and Fees Students may not withdraw in good standing unless all financial obligations to the University have been met. Students whose 1999-2000 Academic Year accounts become delinquent are subject to dismissal. Students may Full-time tuition $ 16,200 not receive diplomas, certificates, transcripts, or letters of recom- (12-18 credits/semester) mendation, and may not be allowed to register for the following Tuition per credit $ 700 semester if their accounts have not been paid in full. General Student Fee $ 600 (all full-time students) Any unpaid balance at the end of the semester will be referred to the University’s outside collection agency for collection and legal Housing Fees action. Students or their paying agents will be responsible for all Housing: collection costs and attorney fees. Furness Hall or 1500 Pine $ 4,000 – 4,500 Apartments – 16th Street $ 4,500 – 5,100 Housing reservation deposit $ 200 Payment Plans Housing damage deposit $ 200 (refundable) As a service to our students and their parents, the University offers the following commercially sponsored tuition payment plan. The plan allows for the total sum of all tuition and fees to be paid Graduate Tuition and Fees over ten months, from May through February. Graduate students are considered full-time if enrolled in at least Tuition Management Systems, Inc. (TMS) offers a budget plan 9 credits. Teacher Certification students in visual arts are consid- that allows you to pay all or part of your annual charges in ten ered full-time at 9 credits. Full-time graduate students pay annual monthly installments for a nominal annual administrative fee. tuition plus the general student fee. General student fee charges A separate insurance program is also available to participants with are the same for graduate and undergraduate students. Tuition for this plan. For more information contact Tuition Management part-time graduate studies is charged on a per credit basis. Systems Inc., at (800) 722-4867. A student who has completed all the course requirements for the master’s degree and is currently working on the graduate project, either on or off-campus, must register and pay a graduate project Tuition Remission continuation fee (equal to the cost of 0.5 credits/semester). This registration, through the Office of the Registrar, is required in each Alumni Discount semester until all degree requirements are met. Sons and daughters of alumni of The University of the Arts are A student without an approved leave of absence who does not eligible for a 10% remission on their tuition. To qualify, a student register each semester will be considered to have withdrawn from must present to the Registrar an official copy of the long-form candidacy for the degree. Students who have not maintained birth certificate, which lists the names of both parents. The continuous registration must apply through the Office of the remission applies to each semester that the student matriculates on Registrar for readmission to the program, and will be retroactively a full-time basis. charged for the intervening semesters. For purposes of this policy, alumni are defined as graduates who 14 have received a diploma, degree, or certificate as a matriculated student in an undergraduate or graduate program from either the Late Payment College of Art and Design or the College of Performing Arts, A late payment fee of $60 will be charged to any student failing excluding the Evening or Continuing Education Divisions of each to pay his or her tuition and/or housing bill by the due date. College. The discount will be issued commensurate with the number of years that a student’s alumni parents attended the Bad Check Penalty University (i.e., if an alum received a certificate from a two-year A $25 fine is charged for all checks issued to the University and program, the discount would only be offered for two years). not paid upon presentation to the bank. A hold will be placed on all official student documents until the original charge is paid in Sibling Discount addition to the fine. A “flag” will be placed on the student’s account Families that have two or more members simultaneously and, for a period of one year, payment with a personal check will not attending The University of the Arts are eligible for a tuition be permitted. At the end of one year the student may appeal to remission. Presentation of the long-form birth certificate is the Billing Manager to review his/her payment history. All balances required for each sibling attending. The youngest member of will be referred to a collection agency if repayment is not made. the family may receive a 10% tuition remission each semester during which both are full-time matriculating students. Transcript Fee A $5 fee is charged to students requesting an official transcript Spousal Discount from the University. A husband and wife attending The University of the Arts are eligible for tuition remission. Presentation of a marriage license Tuition Refund Policy to the Registrar’s Office is required. The second person of the for Non-Title IV Recipients married couple to register at the University may receive a 10% By registering, students accept responsibility for paying for the tuition remission each semester during which they are both full- entire semester/term regardless of the method of payment and time matriculated students. attendance in class. A student’s general fee, other charges, and deposits are not Students are entitled to only one type of tuition discount (i.e., refundable. Please note that withdrawing prior to the end of a alumni discount, sibling discount, spousal discount, etc.) in any semester could result in the loss of financial aid for that semester, in given academic year. For more information, contact the Office of some cases causing the student to owe the University rather than the Registrar at 215-717-6420. receive a refund. If you do not plan to attend the University, you must request either a Leave of Absence or an official Withdrawal in writing from the Registrar’s Office. Housing Fees A student required to withdraw for disciplinary reasons will not Students are not permitted to move into University housing be entitled to a tuition or housing refund. until all tuition and fees are paid in full. A damage deposit is Students who are considering withdrawing (either from the required of all students who live in University housing. This University or from individual classes) are urged to meet with a deposit is held in escrow and will be refunded to the student after financial aid counselor to discuss the impact of withdrawal on their the apartment is vacated. Any charges for damage to the apartment eligibility for aid. Students are reminded that withdrawing from will be subtracted from this deposit. An additional Housing their courses (either in full or in part) may cause them to lose their Reservation Deposit is required to reserve a space in University eligibility for aid in the current and future semester. housing. This deposit will be credited to the student’s bill and is not refundable. Fall or Spring Semester/Term Tuition Tuition Withdrawal occurring: Charged Refunded Special Charges and Fees Prior to the first class 0% 100% Before end of second week 20% 80% Application Fee Before end of third week 60% 40% An application fee of $40 is required with every application for After end of third week 100% 0% admission or readmission. Summer Sessions Tuition Tuition Tuition Deposit Withdrawal occurring: Charged Refunded Once the student has been accepted for admission to the Prior to the first class 0% 100% University, a $300 tuition deposit is required to reserve a place in Before end of first week 20% 80% the class. This deposit will be credited to the student’s bill and is Before end of second week 60% 40% not refundable. The tuition deposit must be paid in US dollars After end of second week 100% 0% within three weeks of the offer of admission. Late Registration A late registration fee of $35 will be charged to any student registering after the dates listed in the Academic Calendar.

15 Tuition Refund Policy for Title IV Recipients Pro Rata Refund Policy – 6-Week Summer Session The refund policy for Title IV program recipients is listed below. For Title IV students attending for the first time. The refund policy provides for the largest of: Tuition Tuition Pro rata refund for first-time students through 60% of the Withdrawal occurring: Charged Refunded session for which the student has been charged. See Pro Rata Prior to the first class 0% 100% Refund Policy for Title IV Programs below. Before end of first week 20% 80% If this does not apply, the refund policy provides for the larger Before end of second week 30% 70% of the following two options: the Federal Refund Calculation Before end of third week 50% 50% (see Federal Refund Policy); or the institution’s refund policy Before end of fourth week 60% 40% (see page 15). After the fourth week 100% 0% The charts below list refunds, by an institution to a student attending that institution, of not less than the portion of tuition, Federal Refund Policy – Fall and Spring fees, dormitory and other charges assessed the student by the Semesters and Summer Session For Title IV returning students. institution. The following amounts may be excluded from the refund Tuition Tuition calculation: Withdrawal occurring: Charged Refunded 1. An administrative fee not to exceed $100. On or before first day of class 0% 100% 2. Supplies, which are considered 100% expended After first day – before end of 10% of the session 10% 90% upon purchase. End of 10% – end of 25% of the session 50% 50% 3. Books, which are considered 50% expended during the End of 25% – end of 50% of the session 75% 25% first week of classes and 100% thereafter. After 50% of the session has ended 100% 0% 4. The documented cost of any equipment issued to the student and not returned in good condition. Refunds on behalf of Title IV recipients must be distributed in 5. Library books. the following order: 6. Security deposits, which will be returned separately 1. Federal SLS Loan once it has been determined that no damages or fines 2. Unsubsidized Federal Stafford Loan have been assessed. 3. Subsidized Federal Stafford Loan 4. Federal PLUS Loan Examples of Pro Rata and Federal Refund calculations can be 5. Federal Direct Stafford Loan obtained in the Business Office. 6. Federal Direct PLUS Loan 7. Federal Perkins Loan Pro Rata Refund Policy – 15-Week Semester 8. Pell Grant For Title IV students attending for the first time. 9. SEOG aid Tuition Tuition 10. Any other Title IV program Withdrawal occurring: Charged Refunded 11. Other Federal, State, private or institutional student Prior to the first class 0% 100% financial assistance Before end of first week 10% 90% 12. To the student Before end of second week 10% 90% Students who are considering withdrawing (either from the Before end of third week 20% 80% University or from individual classes) are urged to meet with a Before end of fourth week 30% 70% financial aid counselor to discuss the impact of withdrawal on their Before end of fifth week 30% 70% eligibility for aid. Students are reminded that withdrawing from Before end of sixth week 40% 60% their courses (either in full or in part) may cause them to lose their Before end of seventh week 50% 50% eligibility for aid in current and future semesters. Before end of eighth week 50% 50% Before end of ninth week 60% 40% After the ninth week 100% 0% Financial Holds Pro Rata Refund Policy – 7-Week Summer Session Students who do not satisfy their financial obligations to the For Title IV students attending for the first time. University will have a financial hold placed on their record. Such a hold may result in cancellation of the student’s preregistration and Tuition Tuition will prevent the student from being permitted to register for future Withdrawal occurring: Charged Refunded courses until the financial hold is lifted. Furthermore, students Prior to the first class 0% 100% with outstanding financial obligations to the University will not be Before end of first week 10% 90% eligible to receive official copies of their transcripts or their Before end of second week 30% 70% diplomas. To avoid incurring late fees and/or a hold on academic Before end of third week 40% 60% records, students are expected to make arrangements to pay all Before end of fourth week 60% 40% tuition, fees, and dormitory charges by the due date on their bill. After the fourth week 100% 0% Students are encouraged to apply early for financial aid.

16 Deadlines Financial Aid Deadlines are used to assist the University in determining how many students wish to be considered for aid from the available The University of the Arts offers a variety of financial aid funds. We also use deadlines so that we will receive the necessary programs to assist students in meeting their educational goals. Aid information, and be able to forward a response to you, in time for may be offered in the form of grants, scholarships, loans, or you to make important decisions regarding your enrollment plans. employment, and is funded through federal, state, institutional, or Students who miss the filing deadlines may not receive all of the private organizations. Grants and scholarships are considered aid for which they may have been eligible. Late applicants are also gift aid and need not be repaid. Loans, which must be repaid, subject to out-of-pocket expenditures for aid which has not been are usually offered at a low interest rate and have an extended processed, as well as the withholding of registration and class repayment period. attendance in the event of outstanding balances. Financial need is defined as the difference between the cost of education and the family’s federally calculated contribution to these Currently Enrolled Students costs, the Expected Family Contribution (EFC). Where need exists, The University of The Arts’ postmark deadline for the University assists in meeting costs within the resources submission of the FAFSA is March 15. available to the institution. Incomplete applications, and applications submitted after Eligibility for aid is based upon the applicant’s financial need, March 15, will be considered only after on-time applications have the ability to meet individual program requirements, and the been awarded. Some types of aid (University Grants, Scholarships, availability of funding. SEOG Grants, Perkins Loans, Federal Work Study, and PHEAA Typically, 75% of the University’s students enrolled on a full- Grants) are awarded on an on-time basis and may not be available time basis are eligible for some type of need-based aid. Therefore to otherwise eligible but late applicants. all students, undergraduate and graduate, are encouraged to apply. Information on application procedures, types of aid, program New Students requirements, educational costs as determined by the University, The University of the Arts’ postmark deadline for and the students’ rights and responsibilities is detailed in the submission of the FAFSA is February 15. following pages. Most general questions will be answered in these Incoming students are considered on a rolling, funds-available pages. Contact the Financial Aid Office with any specific questions basis after the 15th. Applicants are advised to submit all applica- you may have. tion materials by February 15, or as soon as possible. Some sources of funding (as above) are limited and will not be available to otherwise eligible but late applicants. Eligibility Criteria In order to qualify for financial aid a student must: PHEAA State Grant Deadlines – All Students • Be a U.S. citizen, or eligible non-citizen per Immigration The state’s deadline for receipt of the completed FAFSA and Naturalization Service (INS) regulations. application is May 1. Applications received after that date may • Be admitted to the University. render a student ineligible for PHEAA grants as well as the other • Not have received a bachelor’s degree or its equivalent. types of aid specified above. Some forms of aid are offered to post-undergraduate students All eligible students are considered for financial assistance as specifically noted under “Bachelor’s Degree Holders.” regardless of filing date, depending upon availability of funds. • Not have received aid for the maximum number of However, University-administered funds will not be used to replace allowable semesters. federal or state grants or loans for which a student may have been • Not have defaulted on a previous Federal loan. eligible but for which he/she failed to apply successfully. • Be matriculated in a program which terminates in a degree or certificate. Duration of Eligibility • Be enrolled as a full-time student. (A full-time student is Under federal and University guidelines, undergraduate students one who completes at least 12 credits per semester.) may continue to receive financial aid for only eight semesters, or The University offers some types of financial aid to part-time until the first baccalaureate degree or its equivalent has been earned. students. For undergraduates, part-time is defined as 6-11.5 Students are no longer eligible for aid once they have either credits. For graduate students, part-time is defined as completed the requirements for the degree or have completed the 4.5-8.5 credits. equivalent number of credits. Some forms of aid are offered to less than full-time students Students may not receive undergraduate grants to complete as specifically noted under “Part-Time Students.” minors, double degrees, or teacher certification programs which • Maintain satisfactory academic progress as defined extend beyond eight semesters. by the University. Students are not permitted to delay graduation in order to • Apply for financial aid by the deadline. continue their eligibility for aid. • Demonstrate financial need as determined by the analysis Students can also exhaust their eligibility for financial aid by of the Free Application for Federal Student Aid (FAFSA). failing or withdrawing from courses. If you have questions about your status please contact the Financial Aid Office.

17 Financial Aid Application Procedure Residents of: Alaska, Connecticut, Delaware, District of Columbia, Maine, Massachusetts, Ohio, Rhode Island, Vermont, Prerequisite or West Virginia. To be considered for financial aid, students must be accepted for Students who are residents of these states and are currently admission to the University, or be currently enrolled and making receiving a state grant MUST file the Free Application for Federal satisfactory academic progress as defined by the University. Student Aid (FAFSA). A separate state grant application form may also need to be submitted to the higher education assistance Requisite agency in your state. All students who wish to be considered for financial aid must Residents of states not listed above: file the Free Application for Federal Student Aid (FAFSA). The If you are a resident of a state not listed above, your state does information must be released to the U.S. Department of Education not allow its state grant to be used in Pennsylvania. and to the University. The FAFSA is basic to the University’s Financial Aid application Remember: you must reapply for financial aid process, and is essential to the determination of your eligibility for each academic year! all types of aid (Pell, FSEOG, and PHEAA Grants, University Scholarships, as well as Federal Work Study and loans). You cannot be considered for any type of financial aid until a correct and complete FAFSA has been processed. Types of Aid The University does not require the CSS, ACT, FAF, Profile, Each student who completes a FAFSA will be considered for all or other financial aid applications to be considered for financial of the following types of aid. Parental enrollment will not be assistance. considered when eligibility for University aid is calculated. The Department of Education has provided a way to apply electronically for aid. With Internet access, the FAFSA can be completed and filed at http://www.fafsa.ed.gov. Institutional Scholarships and Grants You can also file using software provided by the Department of University Merit Scholarships Education by downloading the FAFSA Express from their web page University Merit Scholarships are awarded on the basis of at http://www.ed.gov/offices/OPE/express.html. academic excellence and demonstrated talent. The Presidential, Remember–no matter how you decide to file, submit only ONE Promising Artist, and Artist Grant are types of University application each year, per student! Merit Scholarships. The paper FAFSA application must be mailed directly to the processor in the envelope provided and requires approximately Named Scholarships 4 weeks to process. The University offers a number of scholarships that have been Transfer students must submit financial aid transcripts to the donated by individuals or groups to help support promising artists. University. Federal regulations require that students have financial These named scholarships are awarded based on need and merit. aid transcripts sent from each post-secondary institution they have attended, whether or not aid was received. University Grant All first-time financial aid applicants must have financial aid These grant funds are need-based and are awarded by the transcripts submitted from each post-secondary institution as above. Financial Aid Office to supplement all other financial aid assistance. If you are a returning student who has previously submitted financial aid transcripts, it is not necessary to submit duplicates. Students must be enrolled for at least 12 credits in order to Financial Aid Transcript forms are available in the financial receive Institutional Aid which is merit-based. aid office of your previous institution and will be mailed to you upon request. Federal/State Grants Title IV Code The University’s Federal Title IV code is 003350. Pell Grant The Pell Grant is a federally funded program that awards State Grant Information individual grants in amounts ranging from $400 to $3125 in If you are a resident of Pennsylvania (per PHEAA’s guidelines), 1999-2000. Pell grants are awarded to students who have not you will be evaluated for a PHEAA grant by filing the FAFSA. received a bachelor’s degree nor been aided for the maximum semesters allowed. Eligibility is determined by the federal government and notification is sent directly to the student in the form of a Student Aid Report (SAR), which should be received 4 weeks after the FAFSA has been filed. The SAR should be reviewed for accuracy and corrected if necessary. The correct SAR should be retained by the student as confirmation of receipt of the FAFSA. Students must enroll for at least 3 credits in order to be eligible for the Pell Grant.

18 PHEAA Grant Student Loans Awards are made to Pennsylvania residents who have not attained Student loans are available at low interest rates, and with extended the bachelor’s degree nor been aided for the maximum number of repayment terms to assist students in meeting both tuition and living semesters allowed (8). The maximum grant in 1999-2000 is $3100. expenses. Because loan indebtedness has serious implications, students Eligible students must demonstrate financial need, Pennsylvania should carefully consider the amount of their borrowing (both yearly residency, and be enrolled for at least 6 credits. To continue to be and cumulative) and borrow the minimum necessary to reasonably eligible for state grant assistance a full-time student must complete meet those expenses which remain above the Financial Aid Award. a minimum of 24 credits per academic year. Students wishing to borrow should secure an application from the Your award letter may indicate an estimated state grant amount; bank, savings and loan, or credit union of their choice. All students, however, eligibility is determined by the state, and official regardless of state of residency, may borrow from Pennsylvania banks notification is sent directly to the student beginning in May. and are urged to do so. The Financial Aid Office can provide an NOTE: students must meet state residency requirements in application from one of our recommended lenders. accordance with PHEAA guidelines. PHEAA’s filing deadline Students are encouraged to use a lender having PHEAA as a is May 1. guarantor. PHEAA has reduced the fees charged on student loans Other states have scholarship programs for their residents. and provides financial incentives during repayment. Information and applications are available from the respective If the student has previously borrowed under any of the student state boards of education. loan programs, he or she is encouraged to use the same bank to avoid having multiple loan payments upon graduation. (Pennsylva- Federal Supplemental Educational nia borrowers are required to use the same lender.) Opportunity Grant (FSEOG) All loan applications are based on the FAFSA application; thus FSEOG is a federally funded University administered program. this application is prerequisite to the filing of the loan application. These grants are awarded to needy students who do not hold a While the loan application is an element of the Financial Aid bachelor’s degree. Typically, FSEOG grants are first awarded to Pell application process, it is also a separate transaction between the recipients who have met the filing deadlines on a funds-available basis. student and his or her bank. It is critical that the student under- stand that it is he or she alone who is responsible for repaying funds Outside Scholarships borrowed, and that for most students this will be the most serious The University encourages students to explore all options for long-term financial obligation yet undertaken. outside scholarship assistance. Local businesses, foundations, All first-time borrowers are required to attend an Entrance churches, unions, civic organizations, etc., often sponsor scholar- Interview before loan funds will be released by the University. Addi- ships that can be used toward your educational costs. tional information will be available at orientation and registration. A great place to begin your search for outside scholarships is on- All students must submit the Stafford Loan Application line at www.fastweb.com. This is a free scholarship search service. by March 15. The University of the Arts does not recommend that students Graduating students who have borrowed under any federal loan pay fees for financial aid information. program (as well as those who leave the University prior to As a service to students, the Financial Aid Office maintains a graduating) are required to attend an Exit Interview. Students scholarship notebook containing useful information about such intending to discontinue enrollment at the University must contact funding. This notebook can be viewed in the Financial Aid Office. the Financial Aid Office. The Financial Aid Office must be notified if any additional awards are received. Notification of all grants and scholarships will be included in the award letter. Student Loan Programs Hope Scholarship Credit The Taxpayer Relief Act of 1997 includes a few exciting tax Federal Perkins Loan (Perkins) credits for education. This is a federal loan which is need based and is awarded by the The Hope Scholarship is a tax credit of up to $1,500 that would University. The Federal Perkins Loan is currently offered at a fixed cover 100% of the first $1,000 in qualified tuition and related 5% interest rate and is repayable to the University over a maximum expenses, and up to 50% of the second $1,000, required for ten-year period. Repayment begins nine months after graduation enrollment during the first two years of college. or cessation of at least half-time enrollment at an eligible institu- The Hope credit is generally available for tuition and fees paid, tion in an approved program of study. less grants and scholarships, for classes which begin on or after Because Perkins loan funds are limited, this loan is offered to January 1, 1998. The credit is phased out for single taxpayers with the earliest applicants whose Expected Family Contribution (EFC) adjusted gross income between $40,000 and $50,000 ($80,000 to is lowest. Notification of eligibility for this loan is included in $100,000 for joint returns). the award letter. Students who do not qualify for the Hope Scholarship may qualify for the Lifetime Learning Credit. For specific information about how these tax credits may affect you, contact your tax professional.

19 Parent Plus Loan For Undergraduate Student Employment Students (PLUS) The parent of a dependent student may borrow up to the cost of Federal Work Study (FWS) education minus any other financial aid the student is scheduled to FWS is a federally funded program administered by the Univer- receive. Repayment begins 60 days after loan funds have been disbursed. sity. Eligibility for this program is based upon the availability of Loan applications are available from the lender of the student’s funds to the University, and the student’s EFC. choice. The parent must borrow from the same lender the student The Financial Aid Office will make a determination of the has chosen for the Stafford loan, unless that lender does not student’s eligibility to earn money through the FWS Program. participate in the program. A PLUS loan cannot be approved until Notification of eligibility will be included in the Award letter. a complete FAFSA has been processed. A FWS award is not an offer or a guarantee of a job; it is the Typically the loan application process requires 6-8 weeks. In amount a student is eligible to earn should she or he secure a job. order to deduct the anticipated proceeds from a PLUS loan from the Work study awards are not applied against the invoice. Payment invoice, the loan must have been approved. Therefore, parents is made directly to employed students by University payroll check. wishing to use PLUS proceeds toward the fall balance must submit Eligible students are permitted to work up to twenty hours weekly a complete application by March 15 in order to deduct the amount when classes are in session. Students are paid at least minimum of the anticipated loan check from the Fall Invoice. wage and hours may be arranged to accommodate the class schedule. Jobs are usually available throughout the University in the areas Federal Stafford Student Loan (Stafford) of security, University offices, the library, et cetera. Positions Applications for the Stafford loan are available from the lender require various levels of skill and experience. of your choice. Students may choose to use a bank, credit union, or For students who are interested in working in the larger savings and loan association. community, there are several off-campus work study positions We are pleased to recommend a preferred lender to those available. These jobs are located at sites such as community and students who have not previously borrowed. Please contact the arts organizations, theaters, and museums. Financial Aid Office for additional information. Job openings and additional information for fall placement will A Stafford loan cannot be approved until a complete FAFSA be available in the Financial Aid Office in late summer. has been processed. Students wishing to use proceeds from the Stafford loan must submit a complete application by March 15. Non-Federal Work Study (NFWS) Students who use Pennsylvania lenders must submit the loan appli- Students who do not qualify to work under the Federal Work cation directly to the lender. Students who use out-of-state lenders Study program may work on-campus under the NFWS program. must submit the loan application directly to the Financial Aid Office. Information about job availability and placement is as listed in Per federal regulations, only one Stafford or PLUS loan can be the Federal Work Study section. processed for each student. The Student Employment Handbook details all of the regulations PLUS/Stafford governing the Federal and non-Federal Work Study programs. The lender will deduct origination and insurance fees from Students are reminded that falsifying time cards is a criminal Stafford and PLUS loans before they are disbursed. These fees are offense, which can subject them to criminal prosecution and loss of usually approximately 4% of the principal amount borrowed. all financial aid. Thus, the amount available from the loan to pay educational costs is always less than the amount initially borrowed. Students who are in default on a federal loan are not eligible for Stafford or Perkins loans, or other financial aid while enrolled at The University of the Arts. Students and their parents are strongly urged to make an appointment in the Financial Aid Office to discuss questions regarding any of the student loan programs. PHEAA Loan Line (to check on the status of your loan): 1-800-692-7392. Remember: If you intend to use your Stafford or PLUS Loan proceeds toward your Fall invoice you must submit your loan application(s) by March 15.

20 Award Notification Special Circumstances Award letters will be sent to new students beginning in March and to returning students beginning in June. The Financial Aid Income Reduction Office staff will be available to counsel students at any point during The FAFSA collects information about a family’s income and assets the application process. Students should be aware that some aid is from the previous year (1998). For most people this information is conditional on the availability of funds to the University, and if a good predictor of the current year’s (1999) income, since most of these funds are reduced, the University will reduce aid accordingly. us do not experience wide swings in income from year to year. Students must return a signed award letter with acceptance of aid. If, however, a family’s income in the current year will be Failure to return the award letter may result in cancellation of aid. significantly different from last year’s, please notify the Financial Aid Office in writing, including all available documentation. Additional steps are required to claim these forms Reductions in income which are caused by involuntary job loss, of financial aid: unusually high unreimbursed medical expenses, separation, divorce, death of a wage earner, or the like will be considered. Federal Work Study If a family’s circumstances meet these criteria we will calculate In order to claim a FWS award the student must locate a job on the financial aid award based upon the estimated current year campus. Once hired, the student must come to the Financial Aid (1999) figures for the fall semester. At the end of the fall semester Office to complete the necessary payroll paperwork. Students the family will be required to provide documentation (such as final cannot work, nor can they be paid, until this paperwork is pay stub, or an estimated 1999 return) for evaluation of the spring submitted and proper identification is documented. semester’s award. Unfortunately, we are not able to consider reductions in income Pell Grant due to voluntary job changes, back taxes owed, high consumer Approximately 4 weeks after the FAFSA is filed the student will debt, multiple mortgages, employment bonuses received in the receive a Student Aid Report (SAR). This document will notify a previous year, self-employment losses, fluctuations in income from student as to Pell grant eligibility. commission sales, or discretionary purchases. The award letter will list the Pell Grant amount. Changes to the FAFSA information may affect the student’s Pell Grant eligibility. Divorce or Separation When a married student or parent separates from or divorces his/ Perkins Loan her spouse subsequent to the filing of the financial aid application, To claim these funds the student must endorse a Perkins the custodial parent should notify the Financial Aid Office in writing. promissory note in the Student Billing Office. Funds cannot be Please be aware that in the case of separation or divorce the credited until a complete, correct note is negotiated. Financial Aid Office is permitted to discuss the student’s record only with the custodial parent. PLUS and Stafford Loans These loans must be applied for through the student’s lender. Death Proceeds from these loans are disbursed to the University and Sadly, we occasionally are called upon to assist a student whose require the borrower’s signature. These funds cannot be credited to parent or spouse has died subsequent to the filing of the financial the student’s account until the endorsements have been made. aid application. Should this occur, the Financial Aid Office Stafford loan checks will be available in the Finance Office for should be contacted immediately, and we will offer every signature; PLUS checks will be mailed to the parent borrower. assistance possible.

The award notice is subject to revision under the following Dependency Override circumstances: The Financial Aid Office is frequently asked to reevaluate a 1. If government funding levels to the University are reduced, student’s status due to the student’s assertion that he or she should individual awards will be adjusted accordingly. be considered independent of parental support. 2. Verification - The Financial Aid Office is required by federal The guidelines for dependency are set by federal law, and thus each regulation to resolve any discrepancies in information submitted student must first be evaluated against them. A dependent student per verification to that already in a student’s file. Any discrepancies is someone who is younger than twenty-four (24), is not a veteran, may result in revision to a student’s aid amounts and/or types. is not a graduate or professional student, is not married, is not an 3. As above, if at any point in the year we become aware of informa- orphan or ward of the court, or does not have legal dependents. tion that conflicts with other documentation in the student’s file, we An Independent student is someone who is older than twenty- will resolve the discrepancy and revise the award accordingly. four, a veteran, a graduate or professional student, married, or has 4. Outside Scholarships - per federal regulation a student is not legal dependents. (See the FAFSA.) permitted to be “overawarded.” That is, a student’s total amount of Federal and institutional policy is that the first responsibility scholarships, grants, loans, and work study may not exceed the for college costs is the student’s and his/her family’s. student’s calculated need. If a student would be overawarded due A student who wishes to be considered independent must to an outside scholarship, we are required to adjust the other write a letter of appeal to the Financial Aid Office. The letter elements of the aid package to eliminate the overaward. We must clearly state the reasons for appealing the dependency encourage students to seek outside scholarships, and will adjust status. The student will be required to document his/her means institutional aid only if absolutely necessary. of support as well as other items. Please contact the Financial Aid Office for additional information. 21 Academic Progress PHEAA Grants Students who receive assistance in any form, which includes The state grant agency requires that a student earn a minimum but is not limited to University grant, merit scholarship, State of twenty-four (24) credits each academic year in order to continue grant, Federal Pell Grant, FSEOG, FWS, Federal Perkins Loan, to receive state grant assistance. Any student who earns less than Federal PLUS/Stafford, et cetera, must maintain satisfactory twenty-four credits will forfeit his/her state grant for the first academic progress in their program of study in order to continue semester of the following year. Forfeited grant funds will not be to receive those funds. replaced with University awards. Satisfactory academic progress for students at the University is defined as (1) earning between 12 and 18 credits each semester, and Change in Enrollment Status (2) maintaining a minimum cumulative and semester grade Unless specifically designated otherwise, all awards are issued point average (G.P.A.) of at least 2.0 (“C” average). based upon the student’s anticipated enrollment as a full-time If a student’s semester or cumulative grade point average is undergraduate (completing 12 credits or more per semester, in a below 2.0 (“C” average), he or she is automatically placed on degree-granting program). academic warning/probation and required to attain at least a 2.0 Students who become less than full-time or who enroll as “non- cumulative grade point average by the end of the next semester, degree” may lose their eligibility for aid in full or in part. and meet other requirements as specified by the dean’s office. The Financial Aid Office periodically reviews all student Students may be required to maintain a G.P.A. higher than 2.0 accounts and will immediately remove any aid credited to the in some departments or majors. Thus, it is possible to be placed on account of a student who has failed to satisfy progress or enrollment Academic Warning/Probation at higher G.P.A.’s. requirements as above. A student who does not meet the above-cited grade point Students who are considering Withdrawing (either from the average and credit load requirements will jeopardize his/her University or from individual classes) are urged to meet with a financial aid eligibility. financial aid counselor to discuss the impact of the Withdrawal on Students who have had two semesters of academic censure (Warn- their eligibility for aid. Please read the information about refunds ing, Initial Probation, Final Probation) are not eligible to receive in the “Tuition and Expenses” section of this Catalog. financial aid of any type during a third semester of academic censure. Students are reminded that withdrawing from their courses Students who receive University-sponsored scholarships may be (either in full or in part) may cause them to lose their eligibility for required to maintain a G.P.A. greater than 2.0 (“C” average). The aid in current and future semesters. student will be notified of specific G.P.A. requirements when To avoid unexpected balances, students must contact the receiving notification of the scholarship. Financial Aid Office with any questions pertaining to this subject. Students who have been dismissed from the University are not eligible for financial assistance of any kind during the first semester of reenrollment. Graduate Students Graduate students are eligible to apply for Stafford loans and Insufficient Credit Accumulation should refer to the section on student loans for further information. Graduate students may also be eligible for assistantships or In addition to the qualitative standard (G.P.A.), students are also fellowships through the department in which they are enrolled. required to meet a quantitative measure of academic progress (rate Contact the departmental office for additional information and of credit accumulation). Students who receive merit and/or need- application forms. based aid must earn sufficient credits each semester toward graduation. Students who enroll for at least 12 credits during a Graduate students are required to maintain satisfactory academic progress in order to continue to receive financial aid as given semester must complete, with a grade of “D” or higher, at specified in this catalog. least 12 credits in order to continue to receive financial assistance. Students who have attained a bachelor’s degree or its equivalent Be advised that while 12 credits is the minimum per-semester are not eligible to receive Pell, PHEAA, FSEOG, FWS, Perkins, credit accumulation to maintain eligibility for financial assistance, and most other forms of financial aid including institutional grants. the student will NOT be on track to graduate in four years at this rate. Also, “D” grades will cause the student to fail the qualitative Graduate students who are in default on a Federal student loan are not eligible to receive assistance of any type while enrolled (G.P.A.) progress standard. at the University. We review each student’s total credit accumulation at the end of each semester. Students who complete fewer than 24 credits per academic year will be placed on FINANCIAL AID PROBATION Summer MFA Students for the following semester. If, by the end of the probationary Students who enroll in the Summer MFA program may borrow semester, the student has not earned at least 36 credits (for the under the Stafford Loan program for Summer enrollment. three semester period being reviewed), the student then loses his/ During the Fall and Spring semesters, Summer MFA students are her eligibility for financial assistance. Students can fail the enrolled less than half-time and are therefore not permitted to quantitative standard regardless of G.P.A. borrow during those semesters. The student’s eligibility for financial assistance will be restored For the Summer of 1999, Summer MFA students may borrow when the student has earned at least 36 credits, and has met all up to $7900, less any other aid. other academic progress requirements.

22 Transfer Students Budgets Transfer undergraduates are eligible for aid on the same basis as Educational costs include not only tuition and fees, but indirect other undergraduates (with exceptions listed below). costs such as room, food, books, supplies, and personal expenses. All transfer students must submit a Financial Aid Transcript Direct costs reflect the actual amount a student will be billed by (FAT) from each prior post-secondary institution attended, whether the University. Indirect costs are what a typical student might or not financial aid was received while enrolled. expect for out-of-pocket expenses such as supplies, books, clothing, Financial aid will not be awarded to students from whom the food, medical expenses, personal items, and transportation over a required FATs have not been received. nine-month period. Transfer students who have borrowed the undergraduate Naturally, one’s own habits and personal spending patterns can maximum under the Stafford program are not eligible for contin- dramatically influence these costs. Therefore, these are estimates only. ued Stafford assistance while enrolled at the University. These factors are used in formulating a student’s budget and Any transfer student who is in default on a Federal loan is ineligible determining financial need. The Financial Aid Office will assign for financial aid of any type while enrolled at the University. Transfer students who enroll for the spring semester should be each student a budget depending on the information provided on the aware that financial aid received for enrollment during the fall FAFSA. If the budgets shown below differ significantly from the semester at another institution is not transferable. Students must expenses you expect to incur, please inform the Financial Aid Office. reapply for most forms of aid at the University. Contact the While certain academic departments may recommend that Financial Aid Office for additional information and instructions. students have their own computers, the University’s students are not required to provide their own computers. Therefore, the University will not accept responsibility for the funding of student- Bachelor’s Degree Holders owned machines. Students interested in purchasing computers are Students who have earned a bachelor’s degree or its equivalent welcome to contact the Academic Computing Office for advice on and who enroll as undergraduates are eligible to apply for Stafford hardware and software selection and information on the educational loans (with exceptions below). In some cases these students may discounts available. For more information, please refer to the also be eligible for University-sponsored aid. Academic Computing section of this catalog. Students who have already borrowed the undergraduate maximum under the Stafford program are ineligible for continued Stafford 1999-2000 assistance while enrolled at the University. Those who are in default on a Federal student loan are not Estimated Direct Expenses eligible for aid of any type while enrolled at the University. These figures are intended for your use in estimating your costs Students must satisfy the financial aid transcript requirement for the upcoming academic year. as described under “transfer students.” Resident/ Commuter Off-Campus Graduate Tuition (12-18 credits) $16,200 $16,200 $16,200 Part-Time Students General Fee 600 600 600 Part-time students who are enrolled in degree programs may Room — 4,500 — be eligible for Pell, University, and PHEAA grants, as well as Stafford loans. Sub Total $16,800 $21,300 $16,800 Part-time students are subject to all requirements governing the financial aid programs, except that they be enrolled full-time. Indirect Expenses Part-time students are not eligible for merit-based aid. Books & Supplies 2,000 2,000 2,000 Part-time students should follow application procedures as Room 1,000 — 5,000 detailed in this catalog. Food 1,800 1,800 1,800 Living Expenses 800 500 2,300 Continuing Education Students Total $22,400 $25,600 $27,900 Students who enroll through the Continuing Education program are eligible for a very limited selection of loan programs. Continuing Education students are not eligible for any other type of financial Commuter aid. Contact the Financial Aid Office for additional information. Students who live within reasonable commuting distance of the University and reside with parents or relatives. International Students Resident/Off-Campus Students who are neither U.S. citizens nor eligible noncitizens Students who reside in University-owned housing or who reside (as confirmed by the Immigration and Naturalization Service) are in housing which is owned by neither the University nor their not eligible to receive any form of Federal Title IV financial aid parents or relatives. Students who live within commuting distance while enrolled at The University of the Arts. of the University will not be funded as residents, or as off-campus. International students will be reviewed for scholarships when offered admission. Those students who demonstrate exceptional artistic ability in their portfolio review or audition will be considered for the University’s Merit Scholarship Program. International students may be eligible to borrow money through a very limited selection of loan programs. International students must have a US citizen co-signer. Contact the Financial Aid Office for additional information. 23 Graduate Students For Additional Information Most graduate students maintain their own homes and have Listed below are numbers to call if you receive an incomplete correspondingly higher living expenses. Graduate students who notification, or do not receive notification within six weeks of live with parents or relatives will be assigned a commuter budget. application filing.

Part-time Students To check the status of your FAFSA: Budgets for part-time students are determined on an 1-319-337-5665 individual basis. 1-800-4-FEDAID www.fafsa.ed.gov

Rights and Responsibilities PHEAA Grant Line PHEAA Loan Line The receipt of financial aid is a privilege which creates both 1-800-692-7435 1-800-692-7392 rights and responsibilities. Students have the right to know the method used to determine The University of the Arts Office of Financial Aid their need; the right to have access to information and records used 1-800-616-ARTS 1-215-717-6170 in determining need; and the right to be awarded aid as equitably www.uarts.edu fax 1-215-717-6178 as funds permit. Students applying for financial aid are responsible for Inquiries and requests for application forms should be directed to: accurately portraying financial resources and circumstances and The University of the Arts notifying the Financial Aid Office of any changes in status; for Office of Financial Aid applying in a timely manner; and for maintaining satisfactory 320 South Broad Street academic progress and good standing. Philadelphia, PA 19102 Students who fail to maintain adequate progress will be placed on probation. Failure to correct academic deficiency will result in the loss of financial aid until the required credits and grade point average have been earned. Students or parents who knowingly provide false information on any financial aid form (financial aid forms include but are not limited to the FAFSA, verification forms, Work Study time cards and loan applications) will be denied financial aid and will be refused for all subsequent years without the possibility of appeal. Additionally, students so identified will be billed for all aid disbursed and may face prosecution by the Department of Education which may result in fine, imprisonment, or both. While the Financial Aid Office staff is available to assist students through the application process, it is the student’s responsibility to see to the correctness and completeness of his or her applications. If you receive notification that your FAFSA or loan application is incomplete, you must determine what is necessary to complete your application(s), and submit the required information. An application for financial aid will have no effect on the decision concerning admission. The admission decision is made without access to financial aid data.

24 Academic Advising and Student Academic Regulations Responsibility Anita Reece Academic advising at the University is designed to assist Registrar students in directing and completing their degree programs by Second Floor, Dorrance Hamilton Hall providing guidance through contact with informed advisors 215-717-6420 and by providing information in various publications. Students are expected to refer to this catalog, course bulletins, and the The Office of the Registrar develops and maintains all records student handbook for information on policies, procedures, and files relating to the students’ academic life at the University. and deadlines. Students in doubt about any College or University Course and program transactions or changes are not official unless regulation should seek advice from their academic advisor or properly processed through the Office of the Registrar. In order to the Office of the Registrar. register, students must be formally admitted to the University and In preparing for registration, students consult with their faculty pay all applicable tuition and fees. advisors, who help them assemble schedules for the semester and Students must have a program of courses documented and who give final approval to all course selections. Students entering approved by the required advisor(s). All students are advised to the final year of their degree program are urged to consult with the obtain a copy of their curriculum requirements as soon as possible Registrar to ensure that all major requirements will be completed after admission to the University, and to check those against their on schedule for graduation. Students are responsible for knowing transcripts after each term. Student copies of the transcript are the specific requirements of their particular degree program and available upon request. The Office of Registrar is responsible for for tracking their academic progress toward the degree. Meeting certification of completion of requirements for graduation. requirements for graduation is ultimately the student’s responsibility. Matriculated Students Each student is personally responsible for observing all regula- Matriculated students are those who have applied, been accepted, tions in the catalog which may affect academic progress, financial and enrolled in a degree program at the University of the Arts obligations, relationships with University authorities, transferabil- during the semester for which they were admitted. Course credits ity of credits, acceptance of credits for graduation, and eligibility completed prior to matriculation at the University will not to graduate. necessarily be accepted into the degree programs. In no case will more than six credits taken as a non-matriculated student at The University of the Arts be accepted into the degree program. Registration Degree students may enroll for part-time or full-time study. Official registration forms must be filed in order for the student to attend class. Students are responsible for knowing regulations regarding withdrawals, refund deadlines, program changes, and Credit Load/Overloads academic policy. Full-time undergraduate students are defined as those who are Matriculating students must register for subsequent semesters in enrolled in at least 12 credits a semester. Students wishing to take accord with the posted schedule (see Academic Calendar). Failure more than 18 credits in a semester must obtain permission from the dean of their college. Factors such as grade point average and to register will result in a late registration fee (see below). A progress in meeting degree requirements will be considered in student is not considered registered until Finance Office clearance giving permission for an overload. Excess credits are subject to has been obtained. additional charges at the standard semester credit rate. Registra- In order to register for classes, it is necessary to meet any tion as Audit or Pass/Fail is counted the same as registration for financial or academic criteria that have caused a hold to be placed credit for the purpose of determining tuition. on a student’s record. Graduate students are considered full-time if enrolled in at least All students are responsible for completing any prerequisites 9 credits per term. required for enrollment in a course. Failure to complete prerequisites may result in cancellation of registration in the course requiring the prerequisite. Student Classification A student’s class is determined by the number of credits earned, regardless of the number of semesters it took to complete these Late Registration credits and regardless of the student’s standing in his or her major A late-registration fee of $35 will be charged to any student program. Class status is an important factor in determining registering after the dates listed in the Academic Calendar. Late financial aid eligibility and is one indicator of overall academic progress. In addition, class standing is used to prioritize schedul- registration may jeopardize a student’s chances of obtaining the ing during registration. Undergraduate class status is determined program desired. as follows: U1 up to 29.5 credits U2 30 - 59.5 credits U3 60 - 89.5 credits U4 90 - 123 credits U5 more than 123 credits Graduate class status is determined as follows: G1 up to 17.5 credits G2 18 credits or more 25 Schedule Revision – Drop/Add Cross-College Elective Options and Prerequisites Beginning the first week of the semester, only students who have The University encourages students to take courses outside of obtained finance office clearance may make revisions to their their major department and college. To facilitate this goal, the schedules. Any schedule revision must be approved in writing by University offers a wide selection of courses that are open for the appropriate instructor or department chairperson. This is enrollment without prerequisites, including introductory electives accomplished by completing a drop/add form, obtaining the and courses for non-majors. In general, upper level courses will have appropriate signatures, and submitting the form to the Registrar’s specific prerequisites which must be satisfied prior to registration. Office for processing. The drop/add period takes place during the Please contact the department Chairperson or school Director first ten days of classes each semester in accordance with the regarding specific course offerings and prerequisite requirements. academic calendar, during which time schedule changes can be made without academic penalty. Private Lessons Private instrumental/vocal lessons for non-majors may be taken for elective credit (1.5 credits, 7 hours of instruction per semester) with permission of the Director of the School of Music. An Registering for Other Categories additional fee above the tuition payment is required. of Study Pass/Fail Option Independent Study 1. In courses taken on a pass/fail basis, the standard letter grades Students who wish to work on a project or pursue an individual of “A” to “C” are converted to “OP” by the registrar. A grade of course of study may apply to take an Independent Study. In order “C-” to “F” is recorded as an “OF.” to register for this option, the student must follow these guidelines: 2. The pass/fail grading option must be selected prior to the end 1. Prepare a proposal with a University of the Arts faculty of the drop/add period; no change from Pass/Fail to a regular grade member who will serve as the course advisor and complete the or a regular grade to Pass/Fail may be made after that deadline. Independent Study form which may be obtained from the Office of 3. Grades of “OP” or “OF” are not computed in the grade the Registrar or the Dean’s Office. Include a semester plan for the point average. course of study, indicate the number of credits being taken, and 4. The Pass/Fail policy stipulates that the instructor is not to obtain the signatures of the instructor and the department chair/ be informed as to who is enrolled on a Pass/Fail basis. school director. 5. Availability of this option is limited to a total of nine (9) 2. Present this approved proposal at registration along with credits in Liberal Arts courses or electives during the student’s your registration form. The course number for an independent undergraduate career. study is the department code and course number “999.” (Example: CR 999) Auditing a Course 3. Independent studies may be taken for 1.5 to 6 credits in Audited courses carry no credit and do not satisfy degree PCAD, 1 to 6 credits in PCPA, 1 to 6 credits in CMAC, and 3 requirements. Once a course has been audited, the course may credits in Liberal Arts. not be repeated for credit. Regular tuition rates are charged 4. The student is responsible for documenting the content of the for audited courses. independent study work to other institutions or outside agencies. 5. Students may not elect the Pass/Fail or Audit options for Undergraduates Enrolled for Graduate Credit Independent Studies. A student in the last year of the bachelor’s degree program may 6. Graduate students must obtain the signature of the Dean in take a maximum of 6 credits of graduate courses towards a master’s addition to the other signatures of approval. The course number degree, subject to all of the following conditions: for a graduate-level independent study is the department code and 1. The student must have completed the junior year. course number “799.” 2. The credits must be over and above the credits required for the bachelor’s degree and may not be applied to that degree. 3. The student must have a cumulative GPA of 3.00 or better. Internships 4. Permission is obtained from the department and dean Internships allow matriculated students to earn credits while of the college. working in the field. Internship courses are scheduled during the 5. No more than a total of 6 credits, taken either as an under- fall and spring semesters, and with special permission, during the graduate or non-matriculated student, or taken at another college summer. To register for an internship, see the course bulletin and or university, may be applied to the graduate program. the appropriate department for current offerings. Internship courses are graded on a pass/fail basis. Non-Matriculated Students Non-matriculated status provides educational opportunity for Minors/Concentrations students who have not been admitted to a UArts degree program The University offers minors and concentration for students who but who seek study with a specific professor, access to classes not wish to focus on a specific discipline through organized electives. offered by the Continuing Studies Program, or additional college- The College of Art and Design offers seven minors and concentra- level instruction for those who already hold a bachelors degree. tions in digital fine arts, art therapy, and art education. The A student who takes classes in a major department, but is not College of Media and Communication offers information architecture enrolled in a degree program at The University of the Arts and has and multimedia minors. Please see pages 55 and 118 for informa- not submitted an application to the Office of Admissions qualifies tion about eligibility, prerequisites, and course requirements. as a non-matriculated student. Non-matriculated students may 26 enroll for a maximum of 11.5 credits per semester. Students who subsequently enroll in a University of the Arts Change of Grade degree program may apply a maximum of six credits taken as a A change of grade can be made only if an error occurred in non-matriculated student to their degree at the discretion of the computing or recording the final grade or a reevaluation of department director/chair. Non-matriculating students who are previously submitted work is warranted. Extra work, beyond that simultaneously enrolled or have plans to enroll at another institu- required of other class members during the period when the class tion may transfer credits to that institution if they have received met, shall not be offered as a reason for a grade change. If a student prior approval in writing from that institution. questions the correctness of a grade, the student should first discuss To enroll as a non-matriculated student, please contact the Office the matter with the instructor. If a satisfactory resolution is not of Continuing Studies. Please be advised that there are reached, the chairperson of the department or director of the school no payment plans or financial aid opportunities for non- should be consulted. The student may, as a last resort, bring the matriculated students. matter to the attention of the dean of the appropriate college. Any Non-matriculated students are otherwise governed by all the change of final grade requested by a student must be approved by rules and regulations that apply to matriculated students. the course instructor, who must submit the signed Change of Grade form–with the signature of the college dean–to the Office of the Registrar no later than the end of the semester following the one in Grading System which the grade was given. A 4.00 C+ 2.33 A- 3.67 C 2.00 B+ 3.33 C- 1.67 Withdrawal from Course B 3.00 D+ 1.33 A student may withdraw from a course with a notation of “W” B- 2.67 D 1.00 (Withdrawal) on his/her academic record through the last day of F0.00 the seventh week of the semester. The withdrawal form must be Grades not included in computing averages: signed by the instructor of the course and returned to the Office of I Incomplete the Registrar prior to the published deadline. IP In Progress (Graduate Thesis only) After the seventh week, a “W” is possible only under unusual NG No Grade Reported circumstances (accident, illness, etc.) which must be documented. NC No Credit Permission in this case is by signature of both the instructor and W Withdrawal the Dean/Assistant Dean of the college. OP Optional Pass (Grade of “C” or better) A student who wishes to withdraw from all of his or her OF Optional Fail (Grade of less than “C”) classes must initiate an official Withdrawal from the University AU Audit as outlined below. P Pass Withdrawal from the University Computing Grade Point Average A student may withdraw from the University by initiating (GPA) an official Withdrawal process with the Office of the Registrar. The GPA is computed by multiplying the number of credits Students who withdraw from the University prior to the earned for a course by the numerical value of the grade. The beginning of the fall or spring semesters or summer sessions, resulting figures from all courses for that semester are then totaled, or prior to the end of the drop/add period, do so without and this figure is divided by the total number of credits attempted academic penalty. that semester. The grades of I, IP, NG, NC, W, OP, OF, P, and Official Withdrawals after the drop/add period but prior to the AU are not entered in this computation. end of the seventh week of the respective fall or spring semester or second week of the respective summer session will result in the notation of the grade “W” (Withdrawal) for all courses. Grade of Incomplete “I” Students are not permitted to withdraw without academic An incomplete grade may be granted only in extraordinary penalty from the University after the end of the seventh week of a circumstances, either personal or academic, which prevent the fall or spring semester or second week of a summer session, student from completing coursework by the end of the semester. except when non-academic extenuating circumstances exist, in The grade “I” is given only when the completed portion of the which case documentation (by a physician or a counseling student’s work in the course is of a passing quality. In order to professional) must be presented and approval of the appropriate receive the grade of Incomplete, the student must obtain the Dean must be obtained. approval of the course instructor and the Dean of the College prior Students who have withdrawn and wish to resume their studies to the conclusion of the semester. An Incomplete grade must be at a later date must submit a Request for Readmission Form to the removed by the end of the sixth week of the following semester or Office of the Registrar in accordance with application deadlines and a grade of “F” for the course is automatically assigned. Forms are pay the readmission fee. available from the Office of the Registrar. The following procedure must be followed to obtain withdrawal from the University: 1. The student obtains a Withdrawal from University form from the Office of the Registrar.

27 2. If the student does so in person, the Office of the Registrar Readmission will advise the student to visit his/her academic department, the Written appeal for reinstatement as a degree candidate should be Dean of the College, the Dean of Students, the Finance Office, the addressed to the Office of the Registrar by June 1 for the fall Financial Aid Office, and the Library. semester and November 1 for the spring semester. There is a $40 If the student withdrawing from the University is not physically application fee. Appropriate deans, departmental chairpersons/ on campus, the Office of the Registrar will accept a letter signed by directors, and the Finance Office must endorse the readmission the student. After processing the withdrawal, appropriate prior to registration. The major department reserves the right to departments will be notified. require an additional portfolio review or audition. Credit for Nonattendance in classes or nonpayment of tuition do not courses taken seven or more years prior to the date of readmission constitute grounds for withdrawal. The University does not will be reevaluated in conjunction with degree programs currently recognize nonattendance in classes or non-payment of tuition as offered. Academic units may choose not to accept courses regard- the equivalent of withdrawal. less of when they were completed for credit toward the degree. Final determination will be made by the dean of the college. In the event of Dismissal, an application for readmission will not be Leave of Absence entertained until a full academic year has elapsed. A student may request a leave of absence by completing a Leave of Absence Form, available in the Office of the Registrar. A Leave may be granted for one or two semesters, with approval granted by Dean’s List the Dean of the appropriate College. This list is compiled each semester in the respective deans’ A Leave of Absence will not be granted after a semester has begun. offices. The Dean’s List honors those undergraduate students who If a student wishes to leave during a semester and the request is have met the following criteria: approved, s/he may withdraw from the current semester with the 1. Are full-time undergraduate degree candidates. Candidates leave taking effect in the subsequent semester(s). In this instance, for certificate, diploma, and master’s degrees are not eligible. the student will be subject to the grading, withdrawal periods, and 2. Have attained a minimum semester GPA of 3.60. withdrawal refund policies listed elsewhere in this catalog. 3. Have received no grade lower than a “B” in any course. A student who is granted a Leave of Absence is unconditionally 4. Have no grade of “I” or “F.” eligible to register for classes for the semester immediately after the 5. Take at least 12 credits for a letter grade (no “OP” or “OF”) leave expires. (A student may return before the expiration of the during that semester. leave by indicating his/her intention to do so in writing to the Office of the Registrar.) If the student does not register for the term following the Leave’s Academic Review expiration, but wishes to resume his/her studies at a later date, a Any of the following types of academic censure may be completed Request for Readmission Form (from the Office of the immediately enforced based on a student’s scholastic performance Registrar) is required. in a given semester and may have financial aid ramifications. A graduate student may take a Leave of Absence prior to the completion of all course work subject to approval by his/her Academic Warning program director. Graduate students may take a maximum of two A student whose cumulative and semester GPA’s are 2.0 or one-semester Leaves of Absence throughout their course of study, better is considered “in good standing.” whether in sequence or as needed. Once the thesis or Master’s of When a student previously in good standing receives a semester Music graduate project has begun and all course work has been GPA between 1.5 and 2.0, the student will receive a letter of completed, graduate students are not eligible for a Leave of Absence. censure from the dean’s office of their college on advisement from The following procedure must be followed to obtain a Leave of the Academic Review Committee (ARC). Students will be advised Absence from the University: to achieve semester and cumulative GPA’s of 2.0 during the next 1. The student obtains a Request for Leave of Absence form from semester and may be advised to meet additional requirements in the Office of the Registrar. order to avoid further probationary action. A student who receives 2. The student must obtain approval from all those listed in the below a 1.5 GPA will automatically be placed on Initial Probation “Required” section of the form. and will not receive an Academic Warning. 3. After the Leave of Absence approvals are obtained, the student submits the completed form to the Office of the Registrar for Initial Probation processing and coding. The form will then be distributed to all If in the following semester the student is unable to achieve appropriate parties, including the student. semester and cumulative GPA’s of 2.0 in response to the conditions of Academic Warning, the student will receive a letter of Initial Probation from the dean’s office on behalf of the ARC. The student will be advised that if a 2.0 GPA and/or other conditions are not attained by the following semester, the student will be placed on Final Probation and may possibly lose financial aid according to federal regulations.

28 Final Probation Academic Grievance Procedure If a student fails to attain semester and cumulative GPA’s of 2.0 Students who have a concern or grievance regarding an academic and/or other conditions for a third semester, a letter of Final matter should first discuss their concern with the instructor or their Probation will be sent advising the student that financial aid will advisor. If a satisfactory resolution is not reached, the chair of the not be granted for that semester and that, if a 2.0 cumulative GPA department or the director of the school should be consulted. If the is not achieved by the end of the semester, the student may be student believes that his/her concern requires further attention, dismissed from the College. he/she may bring the matter to the attention of the dean or assistant dean of the appropriate college or the Director of Liberal Dismissal Arts. The college dean’s office may convene an Academic Grievance It is the University’s prerogative to dismiss a student for a stated Committee or similar committee to review the concern. As a last cause including: 1) continued failure to maintain a minimum resort, the dean’s office may forward concerns to the Office of the cumulative GPA of 2.0, 2) failure to fulfill academic probationary Provost for final resolution. requirements specified by the Academic Review Committee, 3) failure to meet the GPA specified by the Academic Review Committee by the end of the second consecutive semester of censure, or 4) suspension or expulsion upon recommendation of the Change of Major/Degree Program/ Campus Standards Committee for conduct unacceptable at the College University. Guidelines for appeal of Dismissal, in the event of Students may request a change of major through the Office of extenuating circumstances, are outlined in the Letter of Dismissal. the Registrar. Students are advised to initiate the Change of Major Students dismissed for disciplinary reasons will automatically Petition prior to registration for the upcoming semester. The receive the grade of “W” for all classes in which they are enrolled at petition requires the approval of the appropriate chairpersons or the time of dismissal. If a student is expelled for disciplinary reasons, directors of both the former and the intended new department or the transcript will be marked “Dismissed from the University.” school. Deadlines are June 1 for the fall semester and November 1 for the spring semester. Graduate Probation and Dismissal Policies Change of Major forms are available in the Office of the Regis- A minimum cumulative GPA of 3.0 is required for good trar. After completion of a change of major, students are advised standing and for graduation for graduate students. If a student is to review their degree program requirements with their new unable to achieve a semester or cumulative GPA of 3.0, he or she academic advisor, the department chair or school director, and the will be placed on probation. If a 3.0 GPA and/or other conditions dean of the appropriate college. The student will be required are not attained by the following semester, the student may be either to present a portfolio or to audition, as part of the transfer dismissed from the program. While on probation, a student will requirements. be ineligible to hold a graduate assistantship or to receive a University supplemental grant-in-aid or scholarship. Change of Address Appeal It is essential that students keep the Office of the Registrar Students who are dismissed may make an appeal to the Academic informed of all current addresses: permanent, local, and billing. Review Committee regarding the dismissal. In order to request a Change of Address forms are available in that office. Grades, hearing for an Appeal by the Academic Review Committee, the schedules, and other important information are mailed to the student must contact the dean’s office of their college by the date addresses provided by the student. indicated in the letter of dismissal. The student must also deliver his/her request for an appeal to the committee at the time of the hearing, and will be notified of the committee’s decision at the Change of Name completion of the hearing. Students must notify the Office of the Registrar of any change of name (through marriage, divorce, etc.) by bringing to the office an original legal document showing the change, which can be Major Program Requirements photocopied and kept on file. This is important in order to In addition to the grade point criteria listed in the above maintain all of the student’s records in one place, and prevents academic review process, students are also subject to major program future confusion with transcript requests, etc. requirements which may include minimum satisfactory grades in major coursework. Students who fail to meet the minimum grade requirements in major coursework required by the department, school, or University program will be reviewed by the Academic Review Committee and may be required to meet additional requirements in order to avoid probation or dismissal. Each department or school will provide its students with written statements describing program requirements at the beginning of the academic year.

29 Graduation Requirements Graduation with Honors It is the student’s responsibility to complete the requirements Candidates for the baccalaureate degree may graduate with of the degree program in which he or she is enrolled. honors only if they achieve a minimum cumulative GPA of 3.6. To be certified for a degree, a student must submit a Petition for Award of Degree to the Office of the Registrar, fulfill all degree requirements, satisfy the minimum residency requirements Class Attendance/Notice of (four semesters in residence, a minimum of 48 UArts credits, and completion of the final semester on campus), achieve a Deficiency minimum cumulative GPA of 2.0 (C average) for the undergradu- All students are expected to attend classes regularly and ate degrees and a 3.0 (B average) for the graduate degrees, and promptly and for the duration of the scheduled instructional receive the approval of his/her department chairperson or director time. Individual instructors will decide the optimum time for as having met all major requirements, including any and all taking attendance and may penalize for habitual lateness or requirements unique to the department. Once the student has absence. Repeated, unexcused absences may result in a grade submitted a petition for award of degree, and the Registrar has of “F” for a course. certified that student as having completed the degree requirements, Instructors may advise a student whenever his or her perfor- the degree will be awarded. Two-year certificates are awarded only mance in the course is considered unsatisfactory by use of a Notice to students who are in residence and are matriculated in the of Deficiency in coursework. certificate program. Students who withdraw from the University must notify the Registrar’s Office in writing. Nonattendance does not constitute an official withdrawal. Undergraduate Degree Candidacy Students who have not completed their degree requirements at the end of seven years from the initial date of matriculation may be Absences subject to new degree requirements. Whether or not they are Full participation is expected of all UArts students and is necessary subject to new requirements will be determined by the department to fully benefit from and succeed in our programs of study. chair and the Office of the Registrar on a case-by-case basis. Absences from class may result in a lowered grade or an “F” in the course, depending on the attendance policies stated by the instructor on the syllabus. It is the responsibility of the student to Graduate Degree Candidacy and arrange with his/her instructor/s to make up all missed work. Failure to do so will also affect the student’s grade. Completion An Excused Absence, which requires approval from the instruc- Midway through their respective program, graduate students’ tor, must be due either to an illness or emergency, appropriately progress in their discipline and proposal for thesis will be reviewed documented by medical certificate, etc.; or to attendance at an by the appropriate Graduate Committee to formally determine official school function, with the approval of the appropriate whether a student becomes a degree “candidate,” and is ready to director, chair, or dean. All other absences are unexcused. continue toward development and completion of the thesis or In the event that Excused Absences are numerous enough that it graduate project. is impossible for the student to qualify for advancement, the Graduate students have up to seven years from matriculation student will be advised to withdraw from the course. If the course date to complete a two-year master’s program, and up to six years, is required, the student will also be required to repeat the course in from matriculation date, to complete a one-year program. a subsequent semester.

Graduation – Conferral of Degrees Class/Lesson Cancellations or and Diplomas Lateness of Instructor Students expecting to complete requirements for a degree Students must check every morning for notices regarding class within the year (December, May, or August) are required to file a or lesson changes. Such notices are posted in a designated area. petition for award of degree in the Office of the Registrar at If none is posted for the scheduled class or lesson and the instructor the November registration for the spring semester. The Office of is not present, students are expected to wait 10 minutes for an the Registrar is responsible for certification of completion of hour-long class/lesson and 15 minutes for those of longer duration. requirements for the degree. In the event the instructor fails to appear within the 10-15 minute Degrees and diplomas are conferred once a year at the spring waiting period, students are to report to the appropriate School Commencement Exercises. For students who complete degree Director’s or Department Chairperson’s office and may then leave requirements in other terms, the transcript will be posted “degree without penalty. granted” with either the date of December 31 for fall semester or August 31 for summer semester graduates. Only students who have completed all of their degree require- ments may participate in Commencement. As of academic year 1999-2000, exceptions (i.e., to “walk” at Commencement) will no longer be made for those who are within six credits of completion.

30 In the event of an emergency after office hours, JFMA Student Services physicians are on call 24 hours a day, seven days a week, and may be reached by phone. John Klinzing, Dean of Students Jefferson Family Medicine Associates 1st Floor, 1500 Pine Street Telephone: 215-955-7190 215-875-2229 Location: 1100 Walnut Street, 5th floor Hours: 9:00 am to 5:00 pm M T W F The Student Services Division consists of a group of professionals 1:00 pm to 5:00 pm Thursday committed to assisting students of the University in reaching their goals. The division provides students with opportunities to If an ambulance is necessary, the student will be billed for this develop the interpersonal, leadership, organizational, and commu- service. The cost of the emergency room visit is the responsibility nications skills that will serve them on a personal and professional of the student. level. The office of the Dean of Students administers and coordi- Because of the high cost of medical care, The University of nates student services and represents student concerns to campus the Arts strongly recommends that students have adequate health groups, faculty, staff, and administration. insurance to cover any unforeseen illness or accident. For those students not enrolled in an insurance program of their parents and who need a low cost insurance plan, the University offers various insurance plans. Information and brochures may be obtained at the Counseling Department Health Office. Frequently, students have problems in their emotional and social adjustment to college life. These include relationships, identity, Health Records career goals, achievement, and roommates. To assist students in All entering students must have a physical exam, complete dealing with these needs, free counseling is available on an the Student Health Form, and file it with the Office of Health individual basis as well as from peer-support groups. Services. In addition, the Commonwealth of Pennsylvania insists Students in need of psychiatric or long-term psychological that universities screen for immunization deficiencies of all first- counseling may consult the counseling staff for assistance in time students. Students failing to meet these requirements will contacting recommended resources available in the Philadelphia not be allowed to attend classes. community. Anne Whitehead, Director Workshops are also conducted to help students effectively Telephone: 215-717-6230 deal with these personal, emotional, and social aspects of their 333 South Broad Street, Room M-36 college adjustment. and 211 South Broad Street, 4th floor, Room 411 As with medical emergencies, students are strongly encouraged to carry health insurance for psychological emergencies. All Medical and Counseling issues are strictly confidential. Student Activities/Special Events Brian Hainstock, Director The Student Activities Office sponsors a variety of activities to Telephone: 215-875-5004 complement the academic programs. Annual events include a Room 414, Gershman Y, 401 South Broad Street Halloween party, a Fall Carnival, and the popular UArts Late Night Skate. Other events include a coffeehouse concert series, “Stress Busters” during finals, open mike nights, a comedy contest, and trips to New York and Washington, D.C. Health Services Students play a major role in determining the character of the The University maintains a health office with a Registered Nurse student life program. There are many opportunities for involve- from Monday through Friday, during the academic year and for six ment and leadership. The University Student Council helps weeks in the summer. First aid is rendered, minor illnesses treated, develop, plan, and implement changes that benefit the student and appropriate referrals to other health professionals are made. body. Students are welcomed and encouraged to join this organiza- Health counseling is offered, emphasizing disease prevention, tion, which acts as the voice of the student body in the University health maintenance, stress control, and wellness activities. governance system. Medical services are offered to UArts students by contractual Student clubs and organizations also contribute to campus agreement with Jefferson Family Medicine Associates (JFMA), a activities, and students are encouraged to investigate the opportu- group of physicians who specialize in Family Medicine Practice. nities these groups have to offer. Organizations include the African Students may use these doctors as they would use their family American Student Union, the Campus Activities Board, Outreach physician at home and need only a referral from the University’s Bible Study, and the Gaming Society. nurse to obtain an appointment. Besides treating acute and chronic To encourage participation in sports and physical fitness, the illnesses, there are services for Drug Abuse, Sexually Transmitted University offers a partially subsidized membership to a local Diseases, Birth Control, and Mental Health. Our students are not fitness center. For more information about any of these opportuni- charged for these office visits. There will be charges for these ties, contact the Student Activities Office. services if specialists are called in, if X-ray or laboratory work is Stephanie Coker, Director needed, and for emergency room visits. Telephone: 215-875-2257 e-mail: [email protected] 1500 Pine Street, Room 101

31 Residential Life Although students may be referred to the services by their studio The University of the Arts has made a strong commitment to or liberal arts instructors, students are also welcome to avail providing a supportive living/learning environment. Furness Hall themselves freely of these support services. is a historic remodeled building which houses students. The For more information, please contact: residence features three- and four-person apartments with separate Anita Lam, Director kitchen and bathroom facilities. Academic Support Services The 1500 Pine Residence Hall is a 10-story building acquired Telephone: 215-875-2262 by the University in 1989. Its furnished apartments all include 1500 Pine Street, Room 102 kitchen and bath. Two to five students are housed in studio, one, and two-bedroom apartments. Laundry facilities are located in each building. Academic Achievement/ACT 101 The 16th Street Residence Hall, a newly renovated building, is located two blocks from the University campus. This 12-story Program building, accommodating 72 students, has eight floors reserved for The Academic Achievement/ACT 101 Program (AAP) is part of University housing, with two apartments on each floor. Each the Higher Education Opportunity Act of the Commonwealth of apartment houses four/five students and has two bedrooms, a Pennsylvania. At The University of the Arts, the purpose of the kitchen, and a living room area. Apartments are equipped with program is to provide developmental maintenance and transition central air conditioning. All resident facilities are “smoke-free.” services to students who need preparation in arts and academics. All living environments are supervised by specially selected Students selected to participate in the program must be Pennsylva- Resident Assistants. Resident Assistants are upperclass students, nia residents with financial and/or academic needs. With the extra trained in peer-advising and crisis intervention, who assist students support of the AAP, these students become a highly motivated, in their adjustment to college as well as to life in the city. The cohesive group whose determination to succeed is reflected in their residence program is supervised by the Director of Residential Life. high retention and success rates. Students will receive a housing packet outlining all facilities and Each year, a small number of conditional students are admitted accommodations after they are admitted to the University. to the University under the Academic Achievement/ACT 101 Freshmen from outside the Philadelphia area are guaranteed Program. These students are mandated to attend the Summer housing if the office receives their contracts by June 1. Housing is Bridge Intensive, tutoring and counseling during the semester and guaranteed for the first year only. attend a Midsemester review to ensure their success the first two The office also assists students in finding off-campus accommo- years. To further assist these students, the University also awards dations through its off-campus housing service. Early inquiries an AAP Grant to them so they will be less burdened by financial regarding this service are strongly recommended. demands and can focus on their education. Glenn Smith, Director For more information, contact the Academic Achievement Program. Telephone: 215-875-2205 Anita Lam, Director 1500 Pine Street, 1st floor Telephone: 215-875-2262 1500 Pine Street, Room 102 Meals Most student residences feature separate kitchens within each Learning Specialist apartment. Students prepare their own meals according to their The University is committed to supporting students with learning individual schedule and dietary preference. In addition, the disabilities to ensure that they have an equal opportunity to University maintains a cafe that serves breakfast and lunch and an participate in University programs. The Learning Specialist provides optional meal plan. Snack and beverage vending machines are individual support to students with documented learning disabilities accessible at all times. and serves as a liaison between students and faculty when needed. Specifically, the Learning Specialist assists students in the areas of writing, study skills, organization, word processing, and advising. Academic Support Services In addition to tutorial support, program and instructional accom- The Academic Support Services are available to all students as a modations may be implemented, if appropriate, to enable students supplement to their classroom instruction. They help students to be as successful as possible in their course work. It is the develop skills in reading, writing, and other academic and studio student’s responsibility to request these services. areas, including successful classroom strategies and improvement To be eligible for support services, a student must submit a copy of study habits. of a recent psycho-educational evaluation that documents a learning Professional and peer tutoring are available to undergraduate disability and the need for specific accommodation(s). The students for general skills and for specific subjects or courses. evaluation should be performed by a licensed psychologist or Computer-assisted academic instruction is also available. learning disability specialist. For additional information, Throughout each semester workshops are given that are designed to please contact: address students’ academic and studio concerns and needs. Lois Elman, Learning Specialist Professional counseling is provided to enhance students’ academic Telephone: 215-875-2254 and personal strategies and skills and E.S.L. Further, specific 1500 Pine Street, Room 103B support services are available to learning-disabled students to assist them in meeting academic requirements. For assistance with any other type of disability, students should contact the Dean of Students at 215-875-2229. 32 International Student Services In an effort to meet the special needs of the international General Information student, the Student Services Division has developed a network of University personnel and offices to provide specialized services Campus Security to students from abroad. These services are provided through The University has security personnel in all of its buildings to Admissions, the International Student Advisor, the Director of provide 24-hour protection. Every semester, identification cards are Residential Life, and the Dean of Students. issued and validated by the Public Safety Office for all students, The University has designated one member of the professional faculty, and employees. Public Safety officers may deny access to staff as the International Student Advisor. In addition to serving University facilities for anyone not carrying a validated identifica- as liaison for students from abroad, the International Student tion card. Spot checking of identification cards occurs throughout Advisor will assist the student in securing necessary services the day. Complete identification checking occurs each weekday provided through the support areas of the University. Special from 7:15 p.m. until 8 a.m.; after 12 noon on Saturday until 8 programs designed to help international students include the a.m. on Monday; and when classes are not in session. A limited following: ESL tutorial assistance for undergraduates, Immigration escort service is provided for students living on or near the Service advisement, and Orientation. University’s campus. The general campus area is patrolled on a Students interested in participating in the Residential Life regular basis. program should contact the Office of Residential Life directly, as Campus Security also provides programs to develop student do all other entering students. While there is not a distinct awareness of safety and security concerns in an effort to diminish residential program for students from abroad, special efforts are exposure to loss. The campus Security Department administers the made by the Office of Residential Life to consider the needs of University Safety Program to ensure the safety of all students, the international student. faculty, and staff. Likewise, the University Health Service, while meeting the needs In the event of a family emergency about which you wish to of all enrolled students, also considers the support needs of contact your son or daughter at the University, call (215) 717-6401 international students. All international students should take at any time of the day. Security personnel will take the necessary special note of the University’s requirement that they maintain or information, contact the appropriate offices to locate the student, secure appropriate medical insurance coverage, either through and deliver the message. their family or through the medical insurance plan offered through the University. When in need of assistance, students are advised to contact either the International Student Advisor at 1500 Pine Street, Room 102, School Closings 215-875-2262 or the Office of the Dean of Student Services at In the event of inclement weather, students should listen to 215-875-2229. KYW or any local radio station that announces official school closings. The University code number is 116. Career Services As students advance academically and artistically, it is important Automobiles for them to begin to develop a plan for their career in the arts. The Because parking in Philadelphia can become very costly, the Career Services Office assists students by providing comprehensive University discourages students from bringing automobiles. services and individual counseling tailored to their specific needs. Any job-recruitment agency or employer desiring to recruit at the University must register with the Office of Career Development Veterans and agree in writing not to discriminate in its recruiting and hiring As an accredited degree-granting institution, the University is on the basis of gender, race, national origin, creed, disability, or approved for the training of veterans. Information about education sexual preference, to the extent provided by applicable law. benefits may be obtained from any VA office. Services for students include the following: career counseling; assistance with resume writing, interview techniques and job search skills; career resource library and industry publications/ periodicals; Career Connections monthly newsletter; internship listings; job listings including freelance projects, part-time jobs, summer jobs, audition opportunities, and full-time career opportu- nities; information on fellowships, grants and contests; annual Futures Fair (Career Day); on-campus job interviews; World Wide Web and faxing access; graduate school information; and study abroad information. The professionally trained staff of the Career Services Office offers assistance to both students and alumni of The University of the Arts. For additional information, please contact: Elisa Klyman, Director Telephone: 215-717-6075 Dorrance Hamilton Hall, Suite 130 33 Sexual Harassment Policy Code of Conduct Sexual harassment will not be tolerated. This type of harassment may be blatant but is often subtle. Unwelcome sexual advances, The University’s regulations governing nonacademic student requests for sexual favors, and other verbal or written communica- conduct safeguard the particular values and common welfare of the tions or physical conduct of a sexual nature constitute sexual student body and promote the best possible environment for study. harassment when: Membership in the University is regarded as a privilege, and the Submission to such conduct is made either explicitly or student is expected to exercise self-discipline and good judgment. implicitly a term or condition of an individual’s employment By registration, the student acknowledges the University’s or academic standing. authority to define and enforce standards of acceptable conduct. Submission to or rejection of such conduct by an individual is Adjudication of alleged student misconduct is the responsibility of used as the basis for employment or academic decisions affecting the Office of the Dean of Students. A committee on campus such individual, or standards, representing the student body, faculty, and administra- Such conduct has the purpose or effect of interfering with an tion, serves in an advisory capacity to the Dean. The Campus individual’s work performance or creating an intimidating, hostile, Standards Committee may recommend suspension or expulsion for or offensive working environment. student conduct considered unacceptable at the University. Violation of the University Sexual Harassment policy will A complete set of rules and procedures is contained in the subject the accused to disciplinary action as stated in the University current code for student rights, responsibilities, and conduct. This Code of Conduct, Section X. Student Code of Conduct can be found in both this Catalog and the Any student who believes he/she has been the victim of sexual Student Handbook. harassment should bring the matter to the attention of the Dean of University policy provides that a student may be required to Students. The incident should be reported as soon as possible so withdraw from the University for psychological/health reasons. A that it may receive prompt attention. student who is withdrawn under this policy is one whose behavior necessitates a leave from the University community. Campus Alcohol and Drug Policy In support of the laws of the Commonwealth of Pennsylvania, Academic Honesty/Integrity Policy The University of the Arts prohibits the unauthorized possession The University of the Arts does not condone any form of and/or consumption of alcoholic beverages on University premises. academic dishonesty, including cheating on exams, plagiarism, The University prohibits the illegal and/or unauthorized or similar types of behavior. Lack of knowledge of citation manufacture, sale, or delivery, holding, offering for sale, possession, procedures, for example, is an unacceptable explanation for or use of any controlled substance as defined under the Pennsylva- plagiarism. Penalty may include a reprimand, a failing grade for nia Controlled Substance, Drug, Device and Cosmetic Act, 35 P.S. a particular assignment, a failing grade in the course, and/or Section 780-102, the Uniform Controlled Substances Act, the suspension from the University. Uniform Narcotic Drug Act, or the Federal Food, Drug and Cosmetic Act, 21 U.S.C. Section 301 et seq., on University property. Such controlled substances for the purposes of this policy shall Smoking Policy include but not be limited to alcoholic beverages, narcotics, The University of the Arts maintains a smoke-free environment. hypnotics, sedatives, tranquilizers, stimulants, hallucinogens, and Smoking is permitted only out of doors. other similar known or habit-forming drugs and/or chemicals as defined under the aforesaid laws.

34 III. Campus Expression Student Code A. Discussion and expression of all views are permitted within the University, subject to requirements for the maintenance of order. Support for any cause by orderly means which do not Part One – Student Rights, disrupt the operation of the University is permitted. The Univer- Responsibilities and Conduct sity retains the right to act to protect the safety of individuals, the protection of property, and the continuity of the educational process. I. Definitions As used in this Code, the following terms shall have the B. Students, student groups, and student organizations may invite following meanings: and hear any speaker of their choosing, subject to the requirements, set forth in Section V below, on the use of University facilities. A. “University” means The University of the Arts and, collectively, those responsible for its control and operation. C. All University students have the right to express their views, both individually and collectively, on issues relating to University B. “Student” means all persons whose primary relationship to policy, through the Student Council. the University is as a student, presently registered at the Univer- sity, either full-time or part-time, pursuing undergraduate or IV. Student Organizations graduate studies, or continuing education courses. A. Student organizations may be established within the University for any legal purpose, upon recognition by the Office of C. “Instructor” means any person hired by the University to Student Activities. To apply for recognition, the proposed conduct classroom or studio activities. organization must submit a list of its officers and a copy of its constitution and bylaws. Where a proposed student organization is D. “Student organization” means a group of students who have affiliated with an extramural organization, that organization’s complied with the requirements of the University for formal constitution and bylaws must also be submitted to the Office of recognition as set forth in Section V of this Code. Student Activities.

E. “Group” means a number of students who have not B. Any group which has been in existence for at least one complied with the requirements for formal recognition as a academic year must apply for recognition as a student organization student organization. in order to continue to receive benefits from the University.

F. “Student media” means either an organization whose primary C. Recognition of a student organization by the University does purpose is to publish/prepare and distribute any publication/ not imply approval by the University of the aims or objectives of presentation on the University campus or a regular publication of the organization. any student organization. D. After recognition, all amendments to a student organization’s G. “Custodian” means the administrative officer of the constitution or bylaws must be submitted to the Office of Student University with applicable supervisory authority. Activities four weeks prior to the effective date.

H. “Shall” is used in the imperative sense. E. Any organization which engages in illegal activities on or off campus shall have sanctions imposed upon it, including withdrawal I. “May” is used in the permissive sense. of University recognition.

J. All other terms have their natural meaning unless the context F. Membership in all campus organizations shall be open, within dictates otherwise. the limits of their facilities, to any member of the University community who is willing to subscribe to the stated aims and II. Student Rights objectives of the organization and to meet its stated obligations. A. This Code recognizes that the students of the University, as members of an academic community, are entitled to the rights G. Discrimination by any student organization on the basis of set forth herein, including, to the extent provided by applicable gender, religion, race, creed, national origin, disability, or sexual law, the right to be free from discrimination and harassment preference is prohibited. based on gender, religion, race, national origin, creed, disability, or sexual preference. V. University Facilities University facilities may be assigned to organizations, groups, and B. The University reserves the right to change the provisions individuals within the University community for regular business of this Code as it deems necessary. In addition, except to the extent meetings, for social programs, and for programs open to the public. expressly provided herein, the Code is not intended to deal with academic issues, financial obligations, or residence assignments: A. The Office of Facilities Management shall have the responsi- the University retains its traditional powers in these and all other bility for assigning University space to campus organizations, areas of campus life. groups, and individuals.

35 B. The individual, group, or organization requesting space must A. The right to review educational records which are maintained inform the University of the general purpose of the function so that by the University. These records generally include all records of a the University can schedule an appropriate location. personally identifiable nature; however, they exclude the financial records of parents and confidential letters and statements of C. Allocation of space shall be based on the demonstrated needs recommendation received prior to June 1, 1975. of the organization, group or individual, as determined by the Office of Facilities Management. B. Records which have been created or maintained by a physician, psychiatrist, psychologist, or other recognized professional or D. Preference may be given to programs designed for audiences paraprofessional while an individual has been a student at the consisting primarily of members of the University community. University, are not available for review; however, the student does have the right to select a physician or other appropriate professional, E. Conditions may be imposed to regulate the timeliness of the at personal expense, to review these records on the student’s behalf. requests, to determine the appropriateness of the space assigned, to regulate time and use, and to insure proper maintenance. C. University educational records are maintained by the following: F. Charges may be imposed for any special services required in 1. Office of the Registrar connection with the event. 2. Office of the Dean of Students 3. Financial Aid Office G. Physical abuse of assigned facilities will require restitution 4. Finance Office for all damages and may result in limitation on future allocations of 5. Office of Continuing Studies space to offending parties. 6. Some educational records may also be maintained by the Dean of the College, academic major departments, and the VI. Student Rights and Residence Halls Academic Support Services Office. A. Resident students can have a representative voice in making recommendations with respect to the policies of the D. The University may not generally release any information University’s residence program. outside the University which is maintained in educational records without prior consent or waiver. However, the University does B. The University shall, to the extent set forth herein, respect have the right to release the following information: each resident student’s right to privacy. The University may 1. Name conduct room searches of resident students in good standing only 2. Address 1) with the consent of the student; 2) in conjunction with legal 3. Telephone listing authorities who have obtained a search warrant; or 3) to insure 4. Date and place of birth compliance with University regulations, as reflected in the 5. Major field of study Residence Contract. University personnel’s entrance to rooms, 6. Participation in officially recognized activities unless for an emergency, apparent breach of University regulations, 7. Dates of attendance or conditions beyond the control of the University, shall be 8. Degrees and awards received announced 24 hours in advance. If the University determines that 9. The most recent previous educational institution a danger to the safety of the University, the residents, or the attended by the student. community exists, consent to enter and search a room will be If a student does not wish any of this information made public, considered implicit. either in a directory of students or in any other manner, the student must inform the Office of the Registrar–no later than the end C. When a resident student requests maintenance service for of the second week of classes each semester–of the information not his/her room, consent to enter shall be considered implicit. Such to be released. service calls will be arranged 24 hours in advance whenever possible. E. The permanent record maintained by the University VII. Access to Student Records will consist of: In 1974, the Congress of the United States enacted the Family 1. Directory information as noted above Educational Rights and Privacy Act, Public Law 93-380, as 2. Application for admission amended, setting out requirements designed to protect the privacy 3. Applicant’s secondary school records of students. Specifically, the statute governs 1: access to records 4. Cumulative University of the Arts records of grades, maintained by certain educational institutions and agencies, and 2: credits, grade point average, and academic actions the release of such records. In brief, the statute provides that such 5. Correspondence (or copies thereof) re: admission, institutions must provide students access to official records directly enrollment, registration, probation related to themselves and an opportunity for a hearing to challenge 6. Student petitions such records; that institutions must obtain the written consent of 7. Disciplinary actions the student before releasing personally identifiable data from 8. Departmental appraisals and evaluations of student progress records to other than specified exceptions; and that students must be notified of these rights. F. The permanent records of the University do not include: As such, all students of The University of the Arts have the 1. Parents’ and students’ confidential financial documents following rights with regard to educational records maintained by 2. Counseling psychologists’ files the University: 3. Health Office files 4. Faculty and staff memoranda/files retained for 36 personal/professional use G. Requests to inspect and review records may be made by VIII. Violation of University Standards completing an “Access Request for Educational Records,” which is The University reserves the right to impose discipline for any available in the Office of the Registrar. Upon receipt of a request misconduct which adversely affects the pursuit of the University’s an appointment will be made to review records within 45 days. stated purposes and objectives by the University community. In addition, the specific types of misconduct listed below may subject H. If a student believes any information in the file is inaccurate a student to disciplinary action by the University: or misleading, that individual may request, in writing, the custodian of the record to amend, delete, or otherwise modify the A. Cheating or plagiarism in connection with an academic objectionable material. If said request is denied, the student may program at the University; request that a hearing be held to further pursue the request. At this hearing, the student may be represented by a person of his or B. Furnishing false information to the University with the her choice, if so desired. If after the hearing, the request to intent to deceive; amend is again denied by the University, the student has the right to place in the file a statement or other explanatory document, C. Unauthorized use of, or misuse, including mutilation provided that such statements or documents relate solely to the and/or defacing, of educational materials, University records, or disputed information. University property;

I. If a student believes that any of his or her rights hereunder D. Forgery, alteration, unauthorized use or misuse of any official have been violated by the University, he or she should make such University document, name, symbol, record, or student or faculty facts known to the Dean of Students in writing. If the Dean of identification card; Students does not resolve the matter and the student still feels that his or her rights have been violated, he or she may so inform the E. Theft, misappropriation, vandalism, grossly negligent Department of Education in writing. damage or arson to any University property or private property of any member of the University community or any other person on J. Release of information from permanent records to outside University property; parties requires the student’s explicit consent. Those exceptions which do not require the student’s consent are: F. Threat of, or actual infliction of, bodily harm or physical 1. Compilation of general enrollment data for reports abuse or injury to any member of the University community or any required by U.S. Government and Commonwealth other person on University property; of Pennsylvania authorities 2. Participatory information-sharing with educational service G. Physical obstruction or verbal disruption of teaching, associations such as the College Scholarship Service, and the research, disciplinary proceedings, or authorized University American Council on Education programs, events, functions, or activities; 3. Information about an individual student in the event of a personal emergency which is judged to threaten the health H. Obstructing access to any University building or other and/or safety of that student facility; unauthorized use or occupation of any University meeting 4. Compliance with judicial orders and lawfully facility, classroom, common indoor or outdoor area, faculty office, issued subpoenas or any other component of the University physical plant or property; 5. Response to inquiries by parents of dependent students (see section K) I. Use, possession, distribution, transfer or sale of illegal narcotics, 6. Reference by appropriate University of the Arts’ faculty hallucinogenic agents or drugs anywhere on University property; and professional staff Any release of information as outlined above which identifies an J. Construction of or actual possession of firearms or other inher- individual student and requires that student’s consent will be ently dangerous weapons or explosive materials, including fireworks; logged in his or her permanent record. K. Violation of any criminal statutes of the United States or K. As provided by the Act, the Office of the Registrar will the Commonwealth of Pennsylvania, or ordinances of the City of respond to valid requests by parents of dependent students for Philadelphia, which occurs on University property or which grades and related cumulative information. Although the student’s directly affects the University community; consent is not required, he or she will be informed that such a request has been made. L. Resisting Campus Security Guards acting in the proper A dependent student is defined as one who is declared a performance of their duties on University property; dependent by his or her parents for income-tax purposes. The University, however, will continue to mail semester grade reports M. Failing to repay, by agreed deadlines, monies borrowed from and actual transcripts of records directly to the student at his/her official student loan funds; permanent address.

L. Requests for the records of a deceased student must be N. Failure by a resident student to abide by the University accompanied by a notarized statement from the executor of the Residence Hall Contract and any other rules and regulations of the estate of the deceased approving the release of records. Requests University applicable to resident students; for students who have long been deceased will be evaluated by the University based on legitimate educational interest. 37 O. Failing, after a warning, to wear clothing or foot covering E. Suspension: Suspension is the termination of student status while attending classes or utilizing any University facility; and separation from the University until a specified date. Suspen- sion means the loss of all rights and privileges normally accompa- P. Smoking on campus property, except in designated areas; nying student status. Suspension is imposed in instances of serious misconduct. Upon termination of the period of suspension, the Q. Consuming food or beverages in areas designated student shall be considered for readmission in compliance with “No Food or Beverages”; academic standards then in effect, provided the student is academi- cally eligible for re-admission. Suspension is recorded in a R. Unauthorized consumption, possession, distribution, transfer, disciplinary file in the Office of the Dean of Students. or sale of alcoholic beverages anywhere on University property; F. Dismissal: Dismissal is the termination of student status and S. Failing to comply with the directions or instructions of separation from the University. Dismissal means the loss of all University officials, relating to the provisions of this Code or other rights and privileges normally accompanying student status. regulations which the University may adopt; and Dismissal is imposed in instances of more serious misconduct. Upon imposition of this action, the student shall be issued terms T. Soliciting or assisting another student to do any act for re-admission, including, but not limited to, the first date which which could subject him/her to discipline for violation of Univer- the student is eligible to reapply for admission and conditions sity standards or regulations. related to the cause of dismissal; the student must also be in compliance with academic standards in effect at the time of re- IX. Disciplinary Actions application. If denied re-admission, the student may re-apply after The University may impose discipline on a student for a one year, although terms issued at the time of dismissal remain in violation of any University standard according to the procedures set effect. The imposition of this action is recorded as dismissal from forth in Part Two of this Code. The penalties for a violation are set the University on the transcript. Dismissal is recorded in a forth below. One or more of the listed penalties may be imposed at disciplinary file in the Office of the Dean of Students. A grade of the discretion of the University. The maximum penalty is “W” for administrative withdrawal shall be received for each course dismissal from the University. for which the student is enrolled at the time the dismissal is issued.

A. Warning: A notice to the student orally or in writing, that G. Expulsion: Expulsion is a permanent termination of student continuation or repetition of conduct found to be a violation may status and permanent separation from the University. Expulsion is be cause for additional disciplinary action. A copy of a written imposed in instances of the most serious misconduct or in instances warning is retained by the Office of the Dean of Students until the of continued serious misconduct usually, though not necessarily, student leaves the University; it does not become a part of the following the imposition of probation or suspension. This action is student’s file. recorded as expulsion from the University on the transcript. Expulsion is recorded in a disciplinary file in the Office of the Dean B. Fine: A money penalty, intended as a deterrent, to cover the of Students. A grade of “W” for administrative withdrawal shall be costs of replacing physical property of the University damaged or received for each course for which the student is enrolled at the stolen by the student. The payment of any fine by a student shall time expulsion is issued. in no way limit the right of the University to seek complete restitution through civil proceedings.

C. Other: The assignment of appropriate tasks for the purpose Part Two – The Hearing Process of restitution and/or exclusion from participation in privileged or extracurricular activities for a period not to exceed one year. I. Initiation of Disciplinary Proceedings A. Charges of a violation of the Code may be filed against a D. Disciplinary Probation: Disciplinary probation is an official student, student group, or student organization by any member of written notice to a student that violations of University regulations the University community. When a complaint is filed against a or policies, or patterns of behavior contrary to University standards student organization, the appropriate officers shall act as represen- or expectations, will not be tolerated. Repeated offenses will result tatives in the disciplinary proceedings. in more severe action, including possible suspension or expulsion from the University. Disciplinary Probation lasts for a stated B. The charges shall be filed in writing with the Office of the period of time and a copy of the probation notice is maintained in a Dean of Students. Upon such filing, the Office of the Dean of disciplinary file in the Office of the Dean of Students until a Students shall notify the student of the charges and of the proce- student leaves the University. dures to be followed. C. The Office of the Dean of Students shall make a preliminary investigation of all charges. If the Dean determines that there is no substance to the charges, they will be dropped. The person charged and the complainant will be so informed.

38 D. If the Dean’s preliminary investigation indicates that the E. If, after the administrative hearing, the Dean of Students or charges warrant only a warning, the Dean of Students or his/her his/her designee determines that the violation warrants censure, designee shall meet with the student to discuss the charges and probation, suspension, the levying of a fine, or expulsion, such issue a warning. The issuance of such warning shall terminate the discipline shall be applied, and the student shall be informed in complaint procedure. writing of such discipline.

E. If the Dean’s preliminary investigation indicates sufficient F. If, after the administrative hearing, the Dean of Students or evidence to warrant penalties beyond a warning, the Dean of his/her designee determines that the student has not violated a Students or his/her designee shall prepare and serve on the student standard or regulation, he/she will inform the student and the a written complaint setting forth the nature, time, and place complainant, and the matter shall be deemed closed. of the violation. III. The Campus Standards Committee F. Service of the complaint shall be hand-delivered to the A. Power: The power to review complaints or charges against student or by certified mail, return receipt requested, on the students, student groups or student organizations by a member of student, with date, time, and place of hearing set out. the University community is vested primarily in the Campus Standards Committee. This committee serves as a recommending G. The student shall have the right to file countercharges body to the Dean of Students. against the party who filed the charges against him/her. B. Membership: The Campus Standards Committee shall be H. If more than one charge arises from the same incident, all composed of eight members: such charges shall be heard at the same time. 1. four students designated by the Dean of Students from a list of nominees submitted by the Student Council; I. The student shall be given the opportunity of defending his/ 2. two administrative staff designated by the Dean of Students her conduct before the Campus Standards Committee within two from a list of nominees submitted by the Staff Council; and academic weeks of receipt of the complaint OR of having the 3. two faculty members designated by the Dean of Students charge resolved by the Dean of Students in an administrative from a list of nominees submitted by the Faculty Council. hearing within one academic week of receipt of the complaint, unless the Dean determines that the complaint must be handled by C. Chairperson: The Chairperson shall be chosen by the Dean of the Campus Standards Committee. Students. The Chairperson shall serve as an ex-officio member, voting only in the event of a tie. II. Administrative Hearings A. If a student wishes to acknowledge that he/she has violated a D. Jurisdiction: standard or regulation as charged and waives his/her right to a 1. The Campus Standards Committee shall be the principal formal hearing before the Campus Standards Committee, he/she body to hear charges of student misconduct or noncompliance may sign a waiver to that effect. Upon the presentation of this with the Code. waiver to the Dean of Students, or his/her designee, the Dean shall 2. The Campus Standards Committee shall have the authority determine the appropriate disciplinary action and impose it. to prescribe supplementary rules of procedure consistent with requirements contained herein. B. If a student wishes to deny that he/she has violated a standard 3. The Campus Standards Committee shall have the authority or regulation as charged, but waives his/her right to a formal to develop and recommend to the Dean of Students hearing before the Campus Standards Committee, he/she may sign appropriate policies, statements, and revisions to the Code a written waiver to that effect. Upon presentation of this waiver to and to any other official University document that pertains the Dean of Students, or his/her designee, the Dean shall hear the to student welfare. evidence by and against the student. E. Hearings: C. At the hearing, the student shall have the right: 1. An action before the Campus Standards Committee shall 1. to be present; commence by notification from the Office of the Dean of 2. to be informed of the evidence against him/her; Students to the Chairperson of the Committee. 3. to present evidence on his/her behalf; 2. In order to conduct a hearing, there must be a quorum, 4. to have adequate opportunity to respond to which consists of 50% of the membership of the Committee. the evidence; and Majority, as used in this Code, means a majority of a quorum. 5. to have the assistance of an advisor of his/her choice who 3. If, after proper notice of the complaint and the date, time, is a member of the University community. and place of hearing, the charged student fails to appear, and the majority of the Campus Standards Committee is satisfied D. If, after the administrative hearing, the Dean of Students or that the student had adequate notice and no valid excuse for his/her designee determines that the student warrants only a his/her nonappearance, the Committee may then hold the warning, the warning will be given by the Dean and the matter hearing without the student. shall be deemed closed. 4. The student charged may be assisted or represented during the proceedings by an advisor of his/her choice from within the University community.

39 5. Prior to each hearing, any member of the Committee who 8. A written copy of the Committee’s findings and recommen- has a particular bias, ethical conflict, or personal relationship dation and the Dean’s decision shall be placed in the student’s with or animosity against the charged student or complainant file, and shall remain there for the period of the student’s which he/she believes would prevent him/her from rendering enrollment plus one year. an objective recommendation shall excuse him/herself from participating in that hearing. IV. Appeal 6. The hearing shall be conducted in a manner to do A. The student shall have the right to appeal the decision and/or substantial justice and shall not be unduly restricted by legal the discipline imposed by the Dean of Students or his/her designee, rules of procedure or evidence. The Chairperson shall take to the Office of the Provost within ten calendar days of the receipt notes of the evidence and testimony presented. The charged of notice of the imposition of discipline. student, or his/her advisor, may take written notes of the evidence and testimony presented. B. The appeal shall be in writing and shall be a reasonable 7. Only Committee members, the charged students, their expression of the student’s desire to appeal the decision. advisors, complainants and witnesses, if any, and the Dean of Students, shall be allowed to attend the hearing. C. Upon receipt of such notice of appeal, the Provost shall advise 8. If two or more are charged within the same complaint, the Dean of Students or his/her designee that such an appeal has individual hearings shall be permitted when requested by been filed. The Dean or his/her designee shall then make the any of them. record of the proceedings available to the Provost. 9. The Chairperson shall open the hearing by stating the charges and the procedures to be followed. D. In his/her discretion, the Provost may give the student an 10. The Chairperson shall ask the student whether or not he/ opportunity to present additional information and his/her reasons she has violated each standard or regulation charged. for appeal, and may request additional information from the Dean 11. The complainant shall present his/her evidence first, of Students or his/her designee. Unless otherwise requested by the including any witnesses he/she may have. Provost, all information must be submitted in writing only. 12. The charged student shall then present his/her evidence, including witnesses, if any. E. Upon consideration of the record and any additional informa- 13. Witnesses shall not be sworn. Any witness may be tion requested, the Provost shall make a final decision and instruct questioned by any party to the action and by any member of the Committee. the Dean of Students to impose appropriate discipline, if any. 14. The complainant and the charged student (or his/her advisor, if desired) may offer summations. F. The decision of the Provost is final. No further appeals may be taken. F. Committee Deliberations and Recommendations: Note: The University and the student may both retain an 1. At the completion of the testimony, the members of the attorney at his/her own expense and have that attorney present Committee shall retire to another room or clear the hearing provided that 1) an in-person proceeding is permitted by the room in order to deliberate. Provost pursuant to subparagraph D and 2) neither attorney 2. No evidence other than that received at the hearing and assumes an active role in the conference. that contained in the student’s file shall be considered by Note: In cases in which the Provost is appointed the Dean of the Committee. Students’ designee, the President will substitute for the Provost in 3. Confidentiality shall be maintained by all participants. the appeal process. Cases shall be discussed only while the Committee is in session. V. Administrative Suspension 4. Recommendations in all cases shall be determined by A. If a charge has been filed against a student, the status of the a simple majority vote. charged student within the University shall not be altered prior to 5. Within three academic days after the conclusion of the a hearing and action by the Dean unless 1) the continued presence hearing, the Committee shall prepare in writing findings of of the student on the University campus shall be found by the Dean fact and conclusions as to the validity of the charges, and a of Students in his/her judgment to constitute a serious threat to the recommendation for appropriate action, and transmit that student or the community; or 2) the off-campus conduct of the information to the Dean of Students. student is deemed by the Dean of Students to be deleterious to the 6. Within that same time, the Committee shall notify the student’s welfare or to that of the University community. charged student by letter delivered in person or by certified mail, of the Committee’s recommended action to the Dean B. Where the Dean of Students concludes that either of such of Students. situations exist, he/she may, in his discretion, place the student on 7. Within three academic days of receipt of the Committee’s probation or suspension pending final disposition of the charges recommendation, the Dean of Students shall notify the charged against him/her. student by letter, delivered in person or by certified mail, 1) whether he/she accepts the Committee’s recommendation and C. The administrative suspension and probation recognized in the discipline recommended, if any and 2) if the student is this Section are in addition to the University’s right to impose the found guilty of the charges, the discipline, if any, that will be emergency removal from the University’s campus and community imposed by the Dean of Students. The Dean shall also inform of a student. The Dean of Students shall have the sole discretion to the Committee of his/her decision. determine whether to substitute the procedures of emergency withdrawal for the procedures of this Code for student misconduct. 40 Information about the Libraries’ collections is available through University Libraries an online catalog that is accessible from terminals in the Greenfield and Music Libraries or by dialing from outside the library with a Carol Graney computer and modem. Records for library materials can be searched Director of University Libraries by author, title, keyword, subject, and call number. Once a record Greenfield Library, 1st floor Anderson Hall is found, information including its shelf location and whether or 215-717-6281 not it is available for circulation is displayed. Traditional card [email protected] catalogs are also maintained for some specialized collections which have not yet been added to the automated system. Other comput- The University Libraries are central to the educational mission of erized reference tools are also available, including electronic the University, enabling and enriching every student’s professional multimedia encyclopedias, and CD-ROM periodical indexes that preparation and general education. Through the services the have been enhanced with information about Library holdings. Library staff provides, and through the materials it collects or to Reference assistance and course reserves are available at every which it provides access, the University Libraries seek to enhance University Library location. The Libraries provide other informa- teaching and improve learning, and to educate students in the arts tion services such as interlibrary loan, class instruction in research to be successful and productive users of information. techniques and library use, and advanced electronic research The Libraries of the University of the Arts include the following capabilities including discounted online database searching for three campus locations: students and Internet access. The Library maintains reciprocal use The Albert M. Greenfield Library, on the first floor and lower arrangements with other nearby academic libraries. level of Anderson Hall (333 South Broad Street), is one of the finest art and design school libraries in the country. For most areas of Albert M. Greenfield Library interest, it is the main library for the campus, containing materials 215-717-6280 in many formats related to art and design, communication, dance, theater, film and television, multimedia, liberal arts, and other Music Library general subjects. The Greenfield Library also houses the Libraries’ 215-717-6291 administrative offices and technical services operation, as well as the Libraries’ Picture Resource File, University Archives and the Slide Collection Libraries’ Special Collections, with particular strengths in book arts 215-717-6290 and textiles. The Music Library, on the third floor of the Merriam Theater Building (250 South Broad Street), is a specialized library serving academic programs and interests in music. Its holdings and services are also important for students and faculty studying or needing information about dance, musical theater, and other areas related to music. The Music Library contains listening facilities for recorded sound in addition to general reading areas and a music education resource area. The Slide Collection, in Anderson Hall, adjacent to the lower level of the Greenfield Library, houses a large collection of 35mm slides relating to subjects of interest to all University visual and performing arts programs and Liberal Arts courses. Light tables and slide carousels may be used for viewing the Library’s and one’s own slides. The total holdings of the Libraries are more than 98,000 books and bound periodicals, 14,500 music scores, 113,000 mounted and encapsulated pictures, 162,000 slides, and 16,000 items of recorded music in lp and cd formats. The library also has a growing collection of audiovisual materials in videocassette, videodisc, and multimedia formats. Listening and viewing facilities, CD-ROM indexes, multimedia computer workstations, and Internet/World Wide Web access are available in addition to general reading facilities.

41 Academic Computing University Guidelines for Responsible Computing Ken Kramar Supervisor of Academic Computing 215-717-6020 The University of the Arts provides access to computing and information resources for students, faculty, staff and other autho- The department of Academic Computing is dedicated to the rized users in support of the University’s mission of teaching, support and integration of appropriate digital technology within creative exploration, research, and public service. Computing the University’s academic programs. The department maintains resources include host computer systems, University sponsored twenty separate computer labs equipped with industry standard computers and workstations, and peripherals, software and software located throughout the campus, including additional electronic files. Proper use demonstrates respect for intellectual facilities in our new, state-of-the-art Terra Building. In addition to property, ownership of data, systems security mechanisms, and each word processing labs and multiple high end graphics labs using individual’s rights to privacy and to freedom from intimidation, enhanced Power Macintosh G3’s, two music labs and an animation harassment, and unwanted annoyance. lab, the University hosts a New Media Center comprised of two Under the direction of the Director of Technology and Informa- dual-platform digital laboratories that enable the integration of tion Resources (D.T.I.R.), the system may be monitored at any animation, graphics, text, music and sound. The University is time should any portion of the system be threatened, or its proud to be a member of the New Media Centers, a group of the integrity in question, or for any reason, and at the sole discretion of nation’s leading academic institutions and technology corporations the Director of Technology and Information Resources, user files dedicated to the advancement of technology in education. may be examined and/or confiscated. Open access to the computer labs is available daily to facilitate All users of the University’s information and technology individual exploration and to ensure adequate time outside of resources are expected: to respect the rights of others and not class for independent work. Students are not required to bring threaten, harass, intimidate, or engage in unlawful activity; abide personal computers, but may find it beneficial to have their own by all applicable licenses, copyrights, contracts, and other restricted depending on their major, individual schedule and needs. or proprietary information. Students interested in purchasing their own computers are The University maintains the right to restrict or rescind welcome to contact the Academic Computing office for advice on computing privileges in accordance with this and other applicable hardware and software selection and information on the educational University policies when the user has exhibited inappropriate discounts available. The University does not accept responsibility behavior in the use of computer facilities. for the installation, maintenance, repair or security of student The same policies and laws that govern faculty and student owned computers. publications in traditional media are applicable to publications in computer media. Web pages, electronic mail, and electronic files may not contain copyrighted material without the approval from the owner of the copyright. Examples of Inappropriate Behavior This policy covers all types of inappropriate behavior. The following types of activities are selected examples of behaviors that are unethical, unlawful, and/or inappropriate. Attempting to alter system, hardware, software, or account configuration. Accessing or monitoring another individual’s accounts, files, software, electronic mail, or computer resourses without the permission of the owner. Misrepresenting your identity, role or the identity of any other person in any type of electronic communication. Misrepresenting or implying that the content of a personal home page constitutes the views or policies of the University, altering the University’s official web site or related pages without prior authorization in writing. Misusing the University’s computing resourses so as to reduce their efficiency or to affect access to the detriment of other users. Producing chain letters or broadcasting messages to individuals or lists of users, or producing any communication that interferes with the work of others. Breaching or attempting to breach computer security systems, with or without malicious intent.

42 Engaging in any activity that might be harmful to systems or to any stored information such as creating or propagating viruses, Continuing Education worms, Trojan horses, or other rogue programs, disrupting services, or damaging files. Programs Violating copyright and/or software licenses agreements. Using computing recourses for commercial or profit making Bobbie Lippman purposes without the written authorization from the University. Director Downloading or posting to University computers, or transport- Second Floor, Dorrance Hamilton Hall ing across University networks, material that is illegal, proprietary, 215-717-6095 in violation of University contractual agreements; or in violation of University policy. The Center for Continuing Studies at The University of the Arts Violating local, State or Federal laws. is dedicated to providing a program of diverse educational The University considers any violation of these regulations to be opportunities. Classes are offered for credit and noncredit in a serious offence. Violations may result in revocation or restriction various formats to accommodate the needs and schedules of our of computer privileges; disciplinary action as outlined in the Code students. Courses in fine arts, crafts, computers, creative writing, of Student Conduct, the Faculty and Staff Handbooks, and other and music industry are available in the fall, spring and summer. University policies and procedures; or may be referred to local, Selected courses from the degree program are made available on a State, and/or Federal authorities. non-matriculated basis through Continuing Studies. In addition, The above policies supplement the University’s Code of Conduct there are summer programs for pre-college and post-college and all existing policies. populations. Saturday programs are offered for young artists from grades 1-12 during the academic year. The Professional Institute for Educators (formerly the New Studies Center) was launched in 1973 to serve the educational and cultural needs of professionals in the field of education. A full program of non-matriculated credit courses are offered for teachers interested in continuing their education. Most classes meet on weekends. There is also a unique Travel/Study program designed to provide educational travel seminars. The Dance Extension program offers noncredit courses for teens and adults from beginning through advanced levels. The program offers a wide variety of courses, taught by highly qualified instructors. Catalogs are available for all programs offered. Please refer to them for specific listings and registration procedures. Please note that the degree programs at the University have specific course and curriculum requirements. Courses taken for credit in the Continu- ing Studies programs are rarely accepted by the degree programs and will be evaluated at the time of admission to determine, which, if any, may be accepted. For additional information, please contact:

Continuing Education 215-717-6095

Professional Institute for Educators 215-717-6092

Saturday School and Pre-College Summer Programs 215-717-6430

Dance Extension 215-717-5110

43 Discipline History (9 credits) Undergraduate Degree Discipline history acquaints students with the historical framework of their respective majors. These courses provide a Requirements historical foundation and mark the intersection of professional training and liberal arts education. The specific courses fulfilling Understanding the degree requirements is crucial to the smooth this requirement vary by college and major. progression to graduation. Students are encouraged to consult with their academic advisors regularly to ensure that they are making Liberal Arts Distribution (21 credits) appropriate progress toward their degree and to consult their The liberal arts distribution requirement ensures that students academic deans’ office and the Office of the Registrar for assistance have an opportunity to explore the literature, philosophy, and clarification of degree requirements. An overview of the degree institutions, and art of their own and other cultures. Acquaintance requirements for the baccalaureate follows. Refer to the section of with the humanities, social sciences, and natural sciences is the catalog that describes the major programs and to the Division essential for any educated person in understanding the world, and of Liberal Arts section for specific course requirements. Students provides a knowledge base for informing the creative endeavors of should keep in close contact with their academic advisors regarding the artist. The specific distribution requirements are outlined in official departmental and major specific requirements. the following section. Freshman Common Core (12 credits) Major (varies by program) First Year Writing Major requirements have been carefully designed by the faculty Introduction to Modernism to provide the student a professional education in his or her chosen field of study. Refer to the appropriate section of the catalog for All students at The University of the Arts must take First Year specific major and departmental requirements. Writing and Introduction to Modernism. Freshmen typically take two semesters of First Year Writing Electives (9 credits) (HU 110 A, HU 110 B). Based on transcripts, SAT score, TSWE Free electives play an important role in the University’s mission score on the verbal text of TOEFL (Test of English as a Foreign of providing a “dynamic milieu for creative exploration, innovation Language), and a placement test, students may be placed in and intellectual investigation, extending the practice and under- HU 008 (ESL) or HU 009. These courses do not satisfy the First standing of the arts and the arts professions.” They give the student Year Writing requirements. Students who successfully complete the opportunity to explore subjects beyond those required for the HU 008 or HU 009 will then take HU 110 A, or may in some major and encourage educational autonomy on the student’s part. cases be assigned to HU 109 B, First Year Writing, which counts “Elective” is defined as any course, studio or liberal arts, which toward the degree and substitutes for HU 110 A. is neither a requirement for the student’s major nor a requirement In addition, freshmen take two semesters of Introduction to for the University’s liberal arts core. “Electives” are courses which a Modernism (HU 103 A & B). Students in HU 008 (English as a student can choose freely without restriction. While advisors may Foreign Language) and HU 009 begin the Introduction to make recommendations regarding electives, the final choice for Modernism sequence in the second semester of their studies elective courses must rest with the student. Obviously, prerequi- at the University. sites and corequisites apply to any course that a student may Satisfactory completion of the First Year Writing sequence is elect to take. required prior to registration for 200-level and above liberal arts courses. In addition, failure to complete this sequence may prevent Requirements for the Baccalaureate Degree the student from proceeding in his or her major studio coursework. 1. Satisfactory completion of all course requirements and total number of credits required in the student’s curriculum. University Writing Standards 2. Meeting the minimum residency requirements of four The faculty of the University have established a standard of semesters in residence, a minimum of 48 UArts credits, and professionalism for all formal papers written for liberal arts and completion of the final semester on campus. studio courses. 3. A cumulative grade point average of 2.0 earned in courses 1. Citations of any text used must be documented as appropriate. taken at The University of the Arts and compliance with major The MLA and APA styles, as detailed in Diane Hacker’s A Writer’s departmental grading standards. Reference, are taught in First-Year Writing HU 110A/B. Lack of 4. Successful completion of the major, including any and all knowledge of citation procedures will not be an acceptable requirements unique to the major department. explanation for plagiarism. 5. Petition for Award of Degree submitted to the Office 2. Papers must be free of consistent patterns of error in punctua- of the Registrar. tion and grammar and must be spell-checked and proofread. Only students who have completed all degree requirements 3. Papers must be word-processed and printed with appropriate will be eligible to participate in the Commencement Ceremony. margins. In addition, papers must be conceptually and visually divided into paragraphs as appropriate.

44 Liberal Arts Requirements for Freshmen Division of Liberal Arts Entering Fall 1996 and After

Robert Ackerman The faculty recently approved new curricular requirements for Director the liberal arts core. These new requirements apply to all students 215-717-6262 who enter the University as freshmen in the fall of 1996 and thereafter. Beginning in the fall of 1997, the course offerings of In addition to the major requirements for earning a bachelor’s the Division of Liberal Arts will be reorganized to reflect the degree at The University of the Arts, all undergraduate students revised curriculum and categories of study. are required to complete approximately one-third of their studies in the liberal arts, reflecting the University’s conviction that the Common Core 12 credits liberal arts are essential for the education of artists, designers, and HU 110 A/B First-Year Writing 6 credits performers. The aims of the division are to develop students’ HU 103 A/B Modernism 6 credits powers of critical thinking and their understanding of the history and criticism of the creative arts, to introduce them to philosophic Discipline History 9 credits and scientific modes of thought, and to the study of human cultures Majors in: and societies–in sum, to refine students’ perceptions of both their Dance DA 211 A/B; DA 117 inner world and the outer world and to help make them both Music MU 301 A/B; MU 401 B intellectually responsible and creative. The Liberal Arts Division Acting TH 311 A/B; TH 213 represents a common ground in the curriculum where students Musical Theater TH 312 A/B; TH 213 from all the colleges meet. It thus offers a unique forum for artistic Animation HU 140 A/B; WM 251 and academic exchanges. Film HU 140 A/B; WM 251 Students are expected to meet with their advisors regularly and are Graphic Design HU 140 A/B; HU 254 responsible for knowing and fulfilling their liberal arts requirements. Photography HU 140 A/B; HU 255 All other PCAD Majors HU 140 A/B; Art History elective Transfer Requirements The University of the Arts will accept transfer credit for liberal Writing HU 320 A/B; Drama course arts courses completed elsewhere, after review, provided that Multimedia MM 271; six credits from: HU 140 A/B, the course work completed is determined to be equivalent to DA 117, DA 211 A/B, TH 311 A/B, University of the Arts offerings, is from an accredited college or WM 251, WM 252 university, and a grade of “C” or better is earned. Students are required to present official transcripts of courses taken at other Liberal Arts Distribution 21 credits institutions as well as course bulletins in order for evaluation of Social and Behavioral Sciences 6 credits transfer credits to take place. Contact the Office of the Registrar Natural Science and Mathematics 3 credits for further information. Literature 3 credits Once they have matriculated, students may transfer up to 15 Humanities 3 credits credits in the liberal arts provided they have not already transferred Liberal Arts Electives 6 credits that many or more at the time of matriculation. Students who wish to take liberal arts credits at other colleges must secure prior At least four (12 credits) of the courses taken to satisfy the liberal written approval from the Director of the Division of Liberal Arts. arts distribution requirement must be at the 300 or 400 level. Such courses may not duplicate courses already taken for credit at The University of the Arts. Credit-Hour Ratio Liberal arts credit is earned at the ratio of one credit per class contact hour.

45 Liberal Arts Distribution Requirements Distribution for Students Matriculating Fall 1996 This grid shows how liberal arts courses may be used to and after satisfy the liberal arts distribution requirement. HU 245 A History of Western Arch I AH/HU HU 245 B History of Western Arch II AH/HU Key: LIT = Literature HU 246 19th Century Art AH/HU AH = Art History HU 248 A Film History (= WM 251) SS = Social Science HU 248 B Issues in National Cinema (= WM 252) SCI/M = Science/Math HU = Humanities HU 250 History of Sculpture AH/HU DH = Discipline History HU 251 History of Industrial Design AH/HU HU 253 History of Crafts AH/HU HU 254 History of Communication Design AH/HU (DH/GD) Distribution for Students HU 255 History of Photography AH/HU (DH/Photo majors) Matriculating Fall 1996 and after HU 255 A History of 19th C. Photography — HU 255 B History of 20th C. Photography — HU 130 A French I HU HU 259 Listening To Music AH/HU HU 130 B French I HU HU 260 A Human Origins I SS HU 131 A German I HU HU 260 B Human Origins II SS HU 131 B German I HU HU 262 A History of China SS

HU 132 A Italian I HU HU 262 B History of Japan SS HU 132 B Italian I HU HU 263 History-Italian Renaissance SS HU 140 A Art History Survey I HU (DH/all PCAD majors) HU 264 Modern American History SS HU 140 B Art History Survey II HU (DH/all PCAD majors) HU 266 A History of Classical World SS HU 266 B History of Medieval Europe SS HU 162 Individual & Society SS HU 267 Intro to Cultural Anthropology SS HU 181 A Child & Adolescent Psychology SS HU 181 B Adult Psychology SS HU 268 Introduction to the Bible SS HU 201 Lyric Poetry LIT HU 270 Introduction to Aesthetics HU HU 210 A 19th C. American Writers LIT HU 274 Introduction to Philosophy HU HU 210 B 20th C. American Writers LIT HU 282 A Fundamentals of College Math SCI/M HU 282 B Calculus SCI/M HU 211 Women Writers LIT HU 285 A Life Sciences SCI/M HU 212 Introduction to Mythology LIT HU 213 World Drama LIT HU 285 B Physical Sciences SCI/M HU 216 The Short Story LIT HU 286 Pseudoscience SCI/M HU 217 African American Literature LIT HU 310 The Stories of Chekhov LIT HU 218 Super Heroes LIT HU 311 Greek Drama LIT HU 313 Poetry Writing Workshop HU HU 219 Children’s Literature LIT HU 314 Literature & Film LIT HU 221 Forms of Autobiography LIT HU 230 A French I HU HU 315 A Modern Drama LIT HU 230 B French II HU HU 315 B Contemporary Drama LIT HU 232 A Italian I HU HU 316 American Playwrights LIT HU 232 B Italian II HU HU 317 A Romanticism LIT HU 318 Literature of the Roman Empire LIT HU 240 Ancient Art AH/HU HU 241 Medieval Art AH/HU HU 242 A Northern Renaissance Art AH/HU HU 242 B Italian Renaissance Art AH/HU HU 243 Baroque Art AH/HU HU 244 Mythology in Oriental Art AH/HU

46 Distribution for Students Distribution for Students Matriculating Fall 1996 Matriculating Fall 1996 and after and after

HU 320 A Masterpieces-West. Tradition I LIT (DH/WMP majors) HU 373 Ethics HU HU 320 B Masterpieces-West. Tradition II LIT (DH/WMP majors) HU 374 Personality & Creativity SS HU 377 Critical Theory and the Arts SS HU 322 Scriptwriting HU HU 382 Social Psychology SS HU 323 Arts Criticism HU HU 325 Fiction Writing HU HU 383 Personality & Adjustment SS HU 326 Contemporary Arts in America LIT HU 384 Abnormal Psychology SS HU 342 Arts of China AH/HU HU 385 Concepts of Modern Physics SCI/M

HU 344 Avant Garde Cinema AH/HU HU 386 Human Genetics SCI/M HU 345 Modern Architecture AH/HU HU 388 Perception SCI/M HU 347 Arts of Africa AH/HU HU 390 Mass Media SS HU 348 American Art to 1945 AH/HU HU 392 American Musical Theater HU HU 349 American Film Genres AH/HU HU 393 African American Culture SS HU 351 Electronic Video AH/HU HU 395 Film, Literature and Art HU HU 353 A Impressionism AH/HU HU 411 A Renaissance Literature LIT HU 353 B Post Impressionism AH/HU HU 411 B Shakespeare LIT HU 354 Women Artists AH/HU HU 412 Detective Film and Fiction LIT HU 355 Dada and Surrealism AH/HU HU 357 Modern Art AH/HU HU 413 Lit & Film: From Text to Screen LIT HU 414 A Big Fat Famous Novel LIT HU 359 Politics and the Media SS HU 414 B European Novel LIT HU 360 A Renaissance and Reformation SS HU 415 A Modern Poetry LIT HU 360 B Age of Enlightenment SS HU 415 B Contemporary Poetry LIT HU 361 Islam: Religion & Culture SS HU 416 A Contemporary Novel LIT HU 362 A American Civilization I SS HU 362 B American Civilization II SS HU 416 B Contemporary American Fiction LIT HU 417 Lyric LIT HU 363 Modern Culture SS HU 419 American Modernists LIT HU 364 Sociology of Art SS HU 420 Major Writers LIT HU 365 A Hist. & Culture-Latin Amer. I SS HU 421 On the Nature of Poetry & Art LIT HU 365 B Hist. & Culture-Latin Amer. II SS HU 422 Amer. Politics & Cult. 1945-75 LIT

HU 366 The City SS HU 440 Wagner and the Ring Cycle HU HU 367 Eastern Religions SS HU 442 Abstract Expressionism AH/HU HU 368 Sociology of Politics SS HU 448 A American Art Since 1945 AH/HU HU 369 Cultural Ecology SS HU 448 B European Art Since 1945 AH/HU HU 370 Greek Philosophy HU HU 372 Continental Philo & Existentlsm HU HU 449 Diaghilev and the Ballet Russe AH/HU HU 450 Arts of India AH/HU HU 451 Arts of Islam AH/HU HU 453 Arts of Japan AH/HU HU 456 Major Artists AH/HU

HU 462 American Social Values SS HU 463 Middle East Art and Culture SS HU 464 Holocaust SS

HU 466 Comparative Religion I SS HU 467 Comparative Religion II SS HU 474 Contemporary Philosophy HU HU 475 Freud and Mahler HU

47 Distribution for Students Matriculating Fall 1996 and after

HU 478 Aesthetics Seminar HU HU 480 Psychology of Creativity SS HU 481 A Physics SCI/M HU 481 B Physics SCI/M HU 483 Theories of Personality SS

HU 484 Educational Psychology SS HU 485 Brain and Behavior SCI/M HU 492 Vienna and Berlin HU HU 495 Dante in the Modern World LIT HU 497 Women and Sex Roles LIT HU 498 Art, Media and Society HU

DA 117 Survey of Music HU (DH/Dance majors) DA 211 A Dance History I HU (DH/Dance majors) DA 211 B Dance History II HU (DH/Dance majors) MU 301 A Music History I HU (DH/Dance majors) MU 301 B Music History II HU (DH/Dance majors)

MU 306 History of Rock Music HU MU 401 A Jazz History HU MU 401 B American Music History HU (DH/ Music majors) MU 402 World Music HU

MU 411 Twentieth Century Music HU MU 417 A Opera Literature HU MU 417 B Opera Literature HU MU 424 Wagner and the Ring Cycle HU

TH 213 Script Analysis HU (DH/Acting & MusTh majors) TH 311 A Theater History I HU (DH/Acting majors) TH 311 B Theater History II HU (DH/Acting majors)

TH 312 A Musical Theater History I HU (DH/MusTh majors) TH 312 B Musical Theater History II HU (DH/MusTh majors) WM 251 Narrative Cinema I HU (DH/Film & Anim Majors) WM 252 Narrative Cinema II HU (DH/Film & Anim Majors)

Key: LIT = Literature AH = Art History SS = Social Science SCI/M = Science/Math HU = Humanities DH = Discipline History

48 Liberal Arts Faculty Mary Ellen Didier Anne Karmatz Senior Lecturer Adjunct Associate Professor Robert Ackerman BA, University of Wisconsin BA, University of Pittsburgh Director MA, University of Chicago MS, University of Pennsylvania BA, College of the City of New York MA, Villanova University MA, PhD, Columbia University Samuel Durso Senior Lecturer Anita Lam Juan Sebastian Agudelo BA, MA, Temple University Adjunct Assistant Professor Senior Lecturer BA, Beaver College BA, MA, Southern Illinois University Richard Farnum MA, Temple University Associate Professor John Baker AB, Princeton University Michelle Lang Senior Lecturer PhD, University of Pennsylvania Senior Lecturer AB, Washington University BSc, MBA, York University STB, Gregorian University Martha Finney MA, Bryn Mawr College PhD, Brown University Senior Lecturer BA, Yale University Cris Larson Ann Richman Beresin MEd, Tufts University Senior Lecturer Assistant Professor MArch, University of Pennsylvania BFA, RISD BA, Tufts University MFA, Rutgers University MEd, Harvard University Janet Fishman PhD, University of Pennsylvania Senior Lecturer Sharon Lefevre BA, Brandeis University Senior Lecturer Stephen Berg MA, Villanova University BA, Princeton University Professor MA, MPhil, Columbia University BA, State University of Iowa Kathleen Graber Senior Lecturer Mary Martin Mary Beth Quinn Boulden BA, Hofstra University Adjunct Assistant Professor Senior Lecturer BA, Macalester College BFA, University of Pennsylvania Kevin Harris MA, Washington University MCAT, Allegheny University Senior Lecturer BA, Hampton Institute Gail Maxwell Caroline Cassells MFA, University of Cincinnati Senior Lecturer Senior Lecturer BA, University of Colorado BA, University of Maryland Nancy Heller MA, University of Lancaster (UK) MA, University of Virginia Professor AB, Middlebury College Kelly McQuain Adam Cox MA, PhD, Rutgers University Senior Lecturer Senior Lecturer BA, MA, Temple University BFA, Ohio University Eugene Howard MA, Lesley College Senior Lecturer Bruce Metcalf PhD, Lehigh University BA, Antioch University Senior Lecturer MA, Norwich University BFA, Syracuse University Elizabeth Cuidet MFA, Tyler School of Art Senior Lecturer Jamer Hunt BSc, Drexel University Visiting Assistant Professor Chris Myers MEd, Temple University BA, Brown University Associate Professor PhD, Rice University BA, University of Toledo Lawrence Curry MFA, Yale University Associate Professor John Jernigan BA, MA, University of Pennsylvania Senior Lecturer Martha Nichols BA, Swarthmore College Senior Lecturer Nancy Davenport MA, Temple University BA, Antioch College Professor MFA, Bard College BA, MA, Bryn Mawr College John Joyce MA, Villanova University PhD, University of Pennsylvania Senior Lecturer BS, Rutgers University Paul Nolan John F. DeWitt MA, New York University Adjunct Associate Professor Associate Professor BA, Shenandoah Conservatory of Music BA, Northeastern University MA, Hahnemann University MA, PhD, University of Connecticut 49 Martin Novelli Frank Smigiel Adjunct Professor Adjunct Assistant Professor BS, St. Joseph’s University BA, University of Pittsburgh MA, Purdue University MA, PhD, University of Delaware PhD, JD, Temple University Andrew Stein Camille A. Paglia Senior Lecturer Professor BA, Grinnell College BA, SUNY Binghamton MA, PhD, Indiana University MPhil, PhD, Yale University Patricia Stewart Dianne D. Perkins Adjunct Associate Professor Adjunct Assistant Professor BA, University of Pennsylvania BA, MA, Temple University Fabian Ulitsky Andrew Petto Associate Professor Assistant Professor BA, MEd, Temple University BA, Middlebury College MA, PhD, University of Massachusetts, Judith Vassallo Amherst Adjunct Professor BA, American International College Robin Rice MA, University of Pennsylvania Senior Lecturer BFA, Ohio Wesleyan University Susan T. Viguers MA, University of Missouri Professor BA, Bryn Mawr College Catherine Robert MA, University of North Carolina Adjunct Assistant Professor at Chapel Hill BA, Connecticut College for Women PhD, Bryn Mawr College MA, PhD, University of Pennsylvania Stanley Ward Donna Rondolone Adjunct Assistant Professor Senior Lecturer BA, Duke University BA, Temple University MA, PhD, Harvard University MA, PhD, University of Pennsylvania Faith Watson William Rudolph Senior Lecturer Senior Lecturer BA, MA, University of Pennsylvania BA, University of Nebraska, Lincoln MA, University of Virginia William Webster Associate Professor Sid Sachs BM, Curtis Institute of Music Senior Lecturer BA, University of Iowa BFA, Tyler School of Art PhD, University of Pennsylvania MFA, Rutgers University Carla Weinberg Craig J. Saper Adjunct Associate Professor Assistant Professor Dottore in Lingue, University of Pisa BA, MA, PhD, University of Florida Burton Weiss Mikhail Sergeev Adjunct Professor Senior Lecturer BA, MA, PhD, Princeton University BA, Moscow State University MA, PhD, Temple University Toby Silverman Zinman Professor BA, MA, PhD, Temple University

50 Philadelphia College of

The University Art and Design of the Arts

51 Class Size and Structure Philadelphia College Each department is unique, with its own curriculum and structure, but in every department classes are small and informal. of Art and Design Faculty advisors and the generous student/faculty ratio assure close individual attention and assistance throughout a course of study. Stephen Tarantal, Dean One of the important teaching modes in the college is the Adrienne Stalek, Assistant Dean critique, or “crit,” an evaluation of student work by the instructor 215-717-6120 with the participation of the class. Given informally to the class or individual as often as once a class, crits have proven to be an The Philadelphia College of Art and Design is a comprehensive invaluable method for the development of critical thinking and visual arts college offering a full range of undergraduate and self-awareness, which are major educational goals in our programs. graduate programs in fine arts, crafts, design, media arts, and art and museum education. All programs are dedicated to: the development of the individual artistic spirit and vision within each Credit-Hour Ratio student; the study of the historical and contemporary precedents In general, credit is earned at the ratio of one credit for two class- which have shaped our culture; and the full range of analog and contact hours in studio courses. Please refer to the course descrip- digital methods and processes that give form to the visual arts. tions for specific information.

Digital Technology/Electronic Media Return Degree Program Advances in digital technologies have established the computer Diploma graduates of the Philadelphia College of Art and as an essential tool for creative work. Artists, designers and Design may apply credits earned for the diploma towards the performers will increasingly be responsible for the development of University’s baccalaureate requirements. For additional informa- new digital media. These advances are creating a wealth of job tion and to apply, contact the Office of the Registrar. opportunities for individuals with creative talent that is unparalleled in the history of the arts. Since 1981, The University of the Arts has been a leader in the field of computer-mediated art and design education in the north- Exhibition Program east region. The University has carefully integrated new media The Exhibition Program showcases major contemporary technologies into traditional fields of study within art and design exhibitions related to the University’s diverse academic curricula disciplines. Additionally, the Electronic Media department offers in design, crafts, and the fine arts. studio elective courses in computer concepts, digital multimedia, Over the years, the Rosenwald-Wolf Gallery, the University’s and electronic media production, at introductory, intermediate, and primary exhibition space, has attracted national and international advanced levels for all students regardless of their major. UArts artists to the campus. Artists who have had one person exhibitions remains dedicated to continuing this leadership role of preparing in the gallery include Vito Acconci, Siah Armajani, Alice Aycock, students for career opportunities in traditional and electronic media. Willie Cole, Gregory Crewdsen, Richard Fleishner, April Gornik, Alex Grey, Lois Greenfield, John Hejduk, Barbara Kasten, Mel Kendrick, Jon Kessler, Donald Lipski, Henry Moore, Robert Major Areas of Study Motherwell, Irving Penn, Anne and Patrick, Poirer, Judith Shea, Pat Steir, Lenore Tawney, Paul Thek and George Trakas. In The college offers course work toward the BFA degree with addition, the gallery has presented notable historic exhibitions of major programs in Animation, Crafts (Ceramics, Fibers, Metals, design: Alexei Brodovich, Czech Cubism, Charles Eames, and Wood), Film/Video, Graphic Design, Illustration, Painting and frogdesign and Memphis. Drawing, Photography, Printmaking/Book Arts, and Sculpture; a Additional exhibition spaces in Dorrance Hamilton Hall BS degree in Industrial Design; an MA degree in Art Education Galleries, the Great Hall Gallery, Drake Theater Gallery and the and Museum Education; an MAT (Master of Art in Teaching) in Windows on Broad furnish opportunities for faculty, alumni, Visual Arts; MFA’s in Book Arts/Printmaking, Ceramics, Painting students, and regional talents. Nearly every department also and Sculpture, and Museum Exhibition Planning and Design; an launches its own series of exhibits. The Mednick Gallery in Media MID (Master of Industrial Design); a special concentration in Art Arts, the Painting/Drawing Gallery, the Illustration Gallery, and Therapy, a pre-certification program in Art Education; and a post the Ceramics/Sculpture Gallery all show work of emerging and baccalaureate certificate program in crafts. established artists. Student-run invitational and juried exhibitions give students the experience of installing shows. Museum Exhibition Planning and Design MFA students gain experience and skills from their practical work in the galleries. Highlights of the year are the Annual Student Show, a featured Commencement event, the Student Scholarship Exhibition and Senior Student and Master of Fine Arts exhibitions.

52 Special Facilities Borowsky Center for Publication Arts The Borowsky Center for Publication Arts is both a unique Studios educational arm of the University and a printing facility that Anderson Hall is a nine-story visual arts facility which houses a provides students, staff, faculty and visiting artists a resource to dramatic gallery, studios, classrooms, and a library designed with a explore the creative potential inherent in the offset lithographic feeling of openness. Through the combination of Anderson Hall printing medium. The Center enables qualified users to experience and Dorrance Hamilton Hall, across the street, the University the complete graphic arts process from initial conceptualization provides a wealth of modern studios, shops, labs, equipment, through production, while maintaining the highest printing galleries, and libraries to support the making of art. standards. The Center is equipped with state of the art equipment, The variety of studios and equipment is extensive, ranging from including a Heidelberg Kors 19" x 25" offset press, a Dos flatbed woodworking and metal shops, printmaking and computerized horizontal camera, a darkroom for shooting and developing typesetting shops, to fine arts, crafts, and design studios and photo negatives, and platemaking and stripping facilities. Staffed with and film labs. Four large kilns enhance ceramic-making capabili- two master printers and student assistants, the Borowsky Center ties and a forge has been built for sculpture. A large weaving shop produces a wide variety of printed material including posters, is complete with dozens of looms and a dyeing room. A nine- catalogs, brochures, announcements, and limited edition prints. teenth-century carriage house was converted into a skylit figure- The Center’s Fact Sheet, which includes all procedures for project modeling studio for sculpture students. submittal, is available in the PCAD Dean’s office. Advanced Computing and Simulation Laboratory The graduate Industrial Design studio is equipped with Macintosh computers and adjoins an advanced computing lab equipped with Silicon Graphics, Windows NT, and Macintosh computers. Media Arts Studios The Media Arts Department (photography/film/video/animation) provides students with high-end equipment and studios modeled after professional environments. Media Arts houses two Master Series Oxberry animation stands, as used by Disney and other professional firms, to film animation drawings, which enable students to produce professional quality work. In addition, Media Arts digital facilities include three AVID digital video editing systems, a Windows NT computer animation lab, and a 16 station closed-loop color calibrated digital imaging computer lab. Other Media Arts facilities include state-of-the-art high ventilation darkrooms with 4x5 enlargers, a black and white RC print processor, a color darkroom with 14 individual stations and a 30" RA-4 color print processor, four photography shooting studios with all the essential equipment for studio photography, two animation shooting studios, a specially built and acoustically isolated film shooting studio, two fully equipped sound studios, five flatbed film editors, as well as video editing, a Casablanca editing system, splicers, synchronizers, and projectors. The Media Arts equipment Room serves student needs by checking out animation, film, and photography equipment, including lights, cameras, tripods, animation discs, and sound equipment. The Equipment Room is open seven days a week and offers extended hours on weekdays.

53 review progress and credit-counting sheets, plan final year (both Undergraduate Programs semesters), and review graduation requirements; (3) Last semester: Exit interview, and meetings with advisors as often as necessary to All freshman students enter the 18-credit Foundation core deal with any problems that arise. program that includes courses in drawing, two-dimensional design, Each studio department is assigned one or more Liberal Arts three-dimensional design, and time-motion studies. The Founda- faculty members who assist both faculty advisors and their assigned tion program introduces the basic language and processes of the students in the selection of a Liberal Arts course of study. visual arts and prepares the students for entry into a major Transcript copies of student records are supplied on request to department. Through freshman elective course offerings, students faculty advisors by the Registrar following the recording of grades are introduced to major course options and opportunities offered by each semester. the College of Art and Design. In the sophomore year, students select a major from one of the following departments: Credit Distribution Crafts: Ceramics, Fibers, Metals, Wood The student is ultimately responsible for completion of all Fine Arts: Painting & Drawing, Printmaking, Sculpture course requirements for the degree program in which he/she is Graphic Design enrolled. The College requires a minimum of 123 credits for Illustration graduation (126 for the BS in Industrial Design). A student Industrial Design carrying an average of 15.5 credits per semester would be making Media Arts: Animation, Film/Video, Photography normal academic progress toward graduation. The major program is augmented by required and elective courses The general credit structure for the BFA is as follows: in other departments in PCAD, PCPA and CMAC to encourage Courses Credits an awareness of the productive interaction that can occur between Foundation 18 the many disciplines available at the University. Alternative career Major department credits 42 opportunities are often developed by students stimulated by Studio Elective 21 courses outside their major. Liberal Arts 42 The college currently offers three concentrations and seven minor programs that can augment or complement the student’s Total credits 123 major course of study. Many departments offer internships and practicums to study Studio Electives off-campus during the junior and senior years. Frequent field trips • Major studio departments may require up to 6 credits in to museums, galleries, artists’ studios, and design studios in another studio major, and/or Liberal Arts. Philadelphia, New York, and Washington, D.C. supplement their • Students may elect to replace up to 6 studio elective credits regular work in studios and workshops. with Liberal Arts courses. • Students are required to take at least 9 credits of studio elective courses outside of their major program. • Elective studio credits may be completed in any department at Academic Advising the College of Art and Design, the College of Performing Arts, or Academic advising at the University is designed to provide the College of Media and Communication. maximum information and assistance to students from the time they enter the Foundation Program in their freshman year until they complete their final semester as seniors. Major Program Requirements In the Foundation year, each student is assigned to a Foundation The professional orientation and preparation of Philadelphia section with its own advisor. Each student is required to meet College of Art and Design’s undergraduate major degree programs with the advisor at least once each semester and encouraged to seek requires students to achieve beyond the University’s minimum out the advisor as soon as any difficulties begin to occur. academic standards. At the end of the Foundation year, when the student selects and Students must achieve a grade of “C” or better in all Philadelphia enters one of the major departments, the student is assigned to a College of Art and Design major course requirements and any faculty member who teaches in that department. This faculty required courses in other departments, including a discipline member serves as that student’s advisor for the next three years. history if applicable. Each student meets with his or her advisor at least once a semester Students are required to repeat “C-” or lower grades in all major to discuss the student’s academic program. course requirements. The degree requirement for that student will In addition, there are three formalized advising sessions: (1) be increased by the number of credits that must be repeated. First semester, sophomore year, first two weeks: When students A student who receives more than one grade of “C-” or lower for enter a major department, the advisor meets in small groups (4-5 major course requirements in a given semester will be reviewed by students) to orient them to collegiate and departmental academic the Academic Review Committee and placed on academic censure, requirements and standards, departmental expectations, elective even if the student’s GPA is above 2.0. options and opportunities, program strategies, two-year planning, introduction to other advisors (Liberal Arts and Studio), and office hours; (2) Second semester, junior-year: Individual meetings to

54 Excessive grades of “C-” or lower in major coursework may result Book Arts Minor in dismissal. Students who are unable to achieve minimum grades This minor emphasizes the development of skills related to in major coursework are advised to speak with their advisor and designing and creating books, incorporating both type and consider transferring to another major. imagery. Instruction in image making in multiples through The Art Therapy and Education concentrations are special printmaking processes, basic typesetting techniques, and introduc- courses of study that are offered in conjunction with the studio tory bookbinding methods are studied. major programs. Interested students should refer to the program PR201 Print I/Relief Monotype 3.0 credits requirements of those concentrations. or Every student must have the approval of his or her department PR204 B Print I/Screenprinting - Etching to proceed to the next level of coursework. Advising is a shared PR307 Book Arts Concept and Structure 3.0 responsibility between the department and the student. Each must remain informed about the student’s progress toward PR326 Intro to Offset Litho 3.0 PR425 Book Production 3.0 graduation. Finally, the student’s petition to graduate must be PR223 Book Binding Methods 1.5 approved by the department advisor or chairperson in consultation PR224 Book Arts Structures 1.5 with his/her faculty. Figurative Illustration Minor The focus of this minor is on work with the figure in space. PCAD Minors/Concentrations Old master and traditional drawing and painting techniques are The College of Art and Design offers minors and concentrations demonstrated and utilized as the student concentrates on the that enable a student to focus on a specific discipline through development of skills related to figurative drawing and painting. organized electives. Students wishing to include a minor or concentration are governed by the following guidelines: IL 200 A Pictorial Foundation 3.0 credits 1. A student may not take a major and a minor or concentration IL 200 B Pictorial Foundation 3.0 in the same subject. Minors must be taken in a program other IL 202 A Anatomy 3.0 than the major. IL 202 B Anatomy 3.0 2. Courses applied to the minor or concentration may not be IL 303 Figurative Utilization 3.0 used for the major, but students may include coursework as part of their studio elective degree requirement. Film/Video Minor 3. All minors require a minimum of fifteen credits, which This minor provides training in film and video technology. are defined by the department. Descriptions of the individual Students work on their own as well as in teams with other students. minors and concentrations may be obtained in the Registrar’s PF 210 A Intro to Film/Video I 3.0 credits Office or the Office of the Dean, PCAD. PF 210 B Intro to Film/Video II 3.0 4. Students must declare their intent to complete a minor or PF 310 A Junior Cinema Production 3.0 concentration by filing the Minor Declaration Form in the Office PF 320 Film Sound 3.0 of the Registrar. This form must be signed by the student’s PF 322 Film/Video Technology 3.0 major and minor advisors. Once a minor or concentration is on file in the Registrar’s Office, any changes must be discussed Photography Minor with the faculty advisor. The Photography minor stresses a fine art approach to photogra- 5. A student pursuing a minor or concentration may be phy. It provides the basics of black and white as well as color required to complete more than the minimum number of credits photography and digital imaging. The emphasis is placed on required for graduation. gaining experience in a wide range of pictorial photographic 6. Minors and concentrations are available only to applications. Once a student has mastered basic photographic undergraduate students. technique, materials and processes that are used to manipulate 7. Students wishing to pursue a minor or concentration must photographic imagery are explored. Creativity and personal meet eligibility requirements, which may include satisfactory expression are emphasized in all of these courses. completion of foundation courses, prerequisites, and departmental portfolio review. PF 211 A Photo I or 3.0 credits PF 209 Photo for Illustrators Currently available minors/concentrations: PF 211 B Photo II 3.0 Animation Drawing Minor PF 217 Color Concepts 3.0 This minor concentrates on the development of drawing skills PF 311 A Junior Workshop 3.0 that embrace a sense of timing and movement. The program also PF 315 Digital Photo Workshop 3.0 includes instruction in the basics of film and video technology. PF 210 A Film I 3.0 credits PF 212 A Animation Drawing I 3.0 PF 212 B Animation Drawing II 3.0 PF 312 A Junior Animation Workshop 3.0 PF 312 B Junior Animation Workshop 3.0

55 Studio Photography Minor Art Education Pre-Certification Concentration This minor is designed to give the student mastery of the full This concentration is designed to be taken in conjunction with a range of camera formats from a 35mm small format up to a 4x5 regular studio major in the PCAD BFA program. In addition to studio view camera. Technical training covers electronic strobe and meeting the requirements of a major studio department, students tungsten studio lighting as well as color transparency film and take courses in the Art Education Department, plus prescribed conventional black-and-white, and color photographic print courses in liberal arts, photography, electronic media, and other materials and techniques. Advanced level classes concentrate on studio areas. Please see page 74 for additional information, design and creative approaches to staged and directed shooting. requirements, and regulations. GD 310 Photographics 3.0 credits Art Therapy Concentration PF 211 A Photo I or 3.0 While enrolled in one of the BFA programs in PCAD, students PF 209 Photo for Illustrators can also elect this concentration which introduces them to the PF 217 Color Concepts 3.0 discipline of art therapy on the undergraduate level. Students take PF 313 A Basic Studio I 3.0 four designated courses in psychology and behavioral science, PF 313 B Basic Studio II 3.0 which can also count toward the liberal arts requirements of their BFA program, and fifteen credits of art therapy courses, which are Typography Minor considered as studio electives. Please see page 76 for additional The student learns the basic visual grammar of typography, information, requirements, and regulations. incorporating this knowledge into information-based interpreta- tions. Intermediate studies are concerned with the informational and editorial uses of typography as well as multi-page formats. The advanced level develops a sophisticated expertise in solving Internships complex messages through typographic expression. Crafts, Fine Arts, Media Arts, Illustration, and Design sponsor an internship course open to all PCAD students regardless of their GD 212 Typography Fundamentals 3.0 credits majors. Internships are voluntary and valuable. They reinforce and GD 304 A Electronic Media/Production I 1.5 * expand classroom theory and practice and allow the student to test GD 304 B Electronic Media/Production II 1.5 ** possible career choices and get a feel for the workplace. GD 306 A Typography Emphasis 3.0 * Each participating department has an Internship Faculty Advisor GD 306 B Typography Emphasis 3.0 ** who is responsible for coordinating the internships, placing GD 426 A Advanced Typography 3.0 students with workplace sponsors, advising students on course * It is recommended that these two courses be taken concurrently, requirements, and deciding on the final pass/fail grades. when possible. Students who are interested in pursuing an internship may obtain Internship information from their faculty advisor, the Career ** It is recommended that these two courses be taken concurrently, Services Office, or the Dean’s Office in PCAD. Students sign up for when possible. internships during the registration process. The internship course is graded on a pass/fail basis and carries three academic credits. Digital Fine Arts Concentration This concentration is designed for students who are grounded in traditional two- and three-dimensional art and design principles, who wish to incorporate digital tools and technology to create Foreign and Summer Study highly personalized artistic statements. While conceptually and Programs procedurally digitally based, the digital fine arts concentration Foreign and summer studies are available through a number of provides for physical output in two-, three- and four-dimensional programs hosted by other institutions. Interested students should realms as well as combined formats. Working closely with meet with the chair of their major department to discuss the advisors, the student selects fifteen credits from categories I and II, appropriate program, timing, and feasibility of off-campus study. with a 6-credit minimum in each category. Those who choose to participate should contact the Registrar and I. Imaging, Interactivity, and Sound Options: Financial Aid Office for advising on transfer of credit and financing. EM 210 Digital Multimedia 3.0 credits Those programs most popular with Philadelphia College of Art and PF 216 Computer Animation 3.0 Design students are: PF 315 Digital Photo Workshop 3.0 • The Academies of Fine Arts in Florence and Rome, Italy MU 149 Aural Concepts 3.0 • Parsons School of Design in Paris, France MU 415 A Intro to MIDI/Electronic Technology 3.0 • Skowhegan School of Painting and Sculpture in Maine PF 218 Creative Sound 3.0 • Tyler School of Art in Rome, Italy • Vermont Studio Center, Vermont II. Digital Expression and Output Alternatives: The University of the Arts is the accrediting institution for PR 412 Advanced Printmaking Media: the Vermont Studio Center and our students receive a discount Digital Applications 3.0 credits on tuition charges. Interested students should contact the Office PR 425 Book Production 3.0 of the Dean for advising and the Office of Continuing Studies for PF 322 Media Technology 3.0 registration procedures. ID 425 Advanced Computer-Aided Design 1.5

56 Cooperative Program with the Student Exchange Philadelphia College of Textiles Students in good standing from other institutions may attend the College for either one or two semesters on a full-time basis. To and Science be eligible, a student must have completed the freshman year at the An agreement between The University of the Arts and the home institution and receive approval from the department chair of Philadelphia College of Textiles and Sciences permits a limited the major department in the Philadelphia College of Art and number of students in each institution to register for a maximum Design. In addition, the student must provide a letter from the of 3 undergraduate credits per semester at the sister institution dean of the home college granting permission to take courses at without the payment of additional tuition. The University of the Arts and agreeing to accept those credits for Students are limited to a total of 6 undergraduate exchange credit at the student’s own institution. All University expenses are credits during their four year enrollment at the home institution. the responsibility of the student. Inquiries should be addressed to Registration is available on a selective basis for qualified students the Office of the Dean, at 215-717-6120. and is restricted to courses not offered at the home institution. Interested students should contact the Office of the Registrar for Association of Independent Colleges of Art additional information and registration materials. and Design (AICAD) Mobility Program The Philadelphia College of Art and Design at The University of the Arts is a member of the Association of Independent Colleges of Pennsylvania Academy of the Fine Art and Design (AICAD). Students in good standing may spend a Arts Degree Coordinate Program semester (with a possible extension to two semesters on a space- available basis) as a guest at another member institution. Students Established in 1970, the Degree Coordinate Program enables remain matriculated at The University of the Arts, and with their students and alumni of the Pennsylvania Academy of the Fine Arts (PAFA) the opportunity to earn a degree from The University of the advisor’s prior approval, will receive full credit for work done at one of the following cooperating institutions: Arts by successfully completing the Academy’s Certificate Program and the University’s prevailing liberal arts requirements for its Art Academy of Cincinnati Bachelor of Fine Arts degree. Candidates for this program must file Art Center College of Design an application for undergraduate admission and submit an official Art Institute of Boston copy of their PAFA transcript, a letter from their Dean in support Art Institute of Southern California of the application, and proof of secondary school graduation. Atlanta College of Art Degree Coordinate students are not required to maintain full- California College of Arts and Crafts time enrollment and may register for any courses offered by the Center for Creative Studies University. This includes studio art, art therapy, and art education. Cleveland Institute of Art A maximum of 9 liberal arts credits from other accredited institu- Columbus College of Art and Design tions may be accepted in transfer. Cooper Union School of Art Corcoran School of Art Kansas City Art Institute Medical College of Pennsylvania Kendall College of Art and Design Maine College of Art Hahnemann University Exchange Maryland Institute, College of Art Program Massachusetts College of Art An agreement between the Philadelphia College of Art and Memphis College of Art Design at The University of the Arts and the Medical College of Milwaukee Institute of Art and Design Pennsylvania (M.C.P.) Hahnemann University permits a limited Minneapolis College of Art and Design number of students in each institution to take courses at the other Montserrat College of Art institution. Interested students must obtain the instructor’s Moore College of Art and Design permission and are subject to any prerequisite requirements. Otis College of Art and Design 1. Full-time, undergraduate students at UArts may take up Pacific Northwest College of Art to 3 credits per semester at M.C.P., subject to their advisor’s Parsons School of Design approval. Students should confer with their advisor regarding the Pennsylvania Academy of the Fine Arts transfer of those credits into their degree program. A limit of six Pratt Institute M.C.P. exchange-credits can be transferred in toward the UArts Rhode Island School of Design undergraduate degree. Ringling School of Art and Design 2. M.C.P. graduate students in the Art Therapy Program may San Francisco Art Institute take up to 3 credits per semester (during the fall or spring School of the Art Institute of Chicago semesters) at UArts’ College of Art and Design toward fulfilling School of the Museum of Fine Arts, Boston their unmet studio prerequisite requirements, either before or School of Visual Arts concurrent with their art therapy course work. Interested UArts students should confer with their studio and Students apply through their home institutions, which are liberal arts advisors. Contact the Office of the Registrar for responsible for the selection of participants. For further informa- additional information. tion, contact the Office of the Dean, 215-717-6120.

57 Midyear Admission The full-time freshman student is Foundation In addition to the typical September start rostered for 16.5 credits each semester, date, students may also enter midyear and usually as follows: Program begin the Foundation Program in January. The department schedules first-semester First Semester Credits Niles Lewandowski core courses during the spring semester, FP 100 A Drawing 3.0 Michael Rossman and a seven-week, nine-credit, intensive FP 120 A Two-Dimensional Design 3.0 Co-Chairpersons second semester between mid-May and the FP 190 A Three-Dimensional Design 3.0 215-717-6210 end of June. Midyear admits who success- Studio Electives 1.5 fully complete the two-semester Founda- HU 110 A First Year Writing 3.0 The Foundation Program in the College tion program between January and June can HU 103 A Introduction to Modernism 3.0 of Art and Design provides incoming enter their major program of study in the freshmen with a year devoted to a basic fall of the same calender year in which they Second Semester Credits understanding of principals and concepts in entered the program. Three of the following FP courses: the visual arts. During the first semester FP 100 B Drawing 3.0 each student is a member of a Foundation FP 120 B Two-Dimensional Design 3.0 section and takes Two-Dimensional Design, FP 190 B Three-Dimensional Design 3.0 Three-Dimensional Design, and Drawing. FP 140 Time and Motion 3.0 During the second semester students select Studio Electives 1.5 a minimum of nine credits (3 courses) from HU 110 B First Year Writing 3.0 the four courses offered by Foundation: HU 103 B Introduction to Modernism 3.0 Two-Dimensional Design, Three-Dimen- Freshman Year Total 33.0 sional Design, Drawing, and Time and Motion. Each class meets for three hours, twice a week. Each section of students is taught by a team of faculty who are professionals in their various fields of art and design; many hold the rank of Professor and Associate Professor. In Foundation courses, faculty stress not only the independent qualities of a discipline but its interdependent character. Through these basic studies and their interaction, students discover the underlying values and principles important to all visual arts. Classroom work is enriched by home assignments, critiques and reviews, guest artists, films, slides, and class trips. One faculty member from the section’s team is designated as the advisor to that section. Students meet individually with the advisor to discuss concerns, the registration process, and their choice of major. The student chooses an additional course offered by the major studio departments each semester. These elective courses are designed to acquaint the student with the practices of the major studio areas. Students also register for two Liberal Arts courses in each semester, as required by the University core.

58 Foundation Faculty Gerald Herdman Boris Putterman Associate Professor Associate Professor David V. Berger Certificate, Cleveland Institute of Art BFA, Philadelphia College of Art Lecturer MFA, University of Pennsylvania MFA, Indiana University BFA, The University of the Arts MFA, Pennsylvania Academy of Steven Jaffe Leo Robinson the Fine Arts Associate Professor Senior Lecturer BFA, Philadelphia College of Art BA, Howard University Lowell Boston MFA, Tyler School of Art, Temple MFA, Cranbrook Academy of Art Adjunct Associate Professor University BFA, The University of the Arts Michael Rossman MFA, California Institute of the Arts Elsa Johnson Professor Associate Professor BID, MFA, Pratt Institute Bill Brown BFA, Cooper Union Senior Lecturer MFA, University of Pennsylvania Karen Saler BA, Temple University Associate Professor MFA, Washington University David Kettner BFA, Philadelphia College of Art Professor MFA, Maryland Institute College of Art Mark Campbell BFA, Cleveland Institute of Art Associate Professor MFA, Indiana University Richard Stetser BFA, Philadelphia College of Art Professor MFA, Mills College Niles Lewandowski BFA, Philadelphia College of Art Associate Professor Sharon Church BFA, Maryland Institute College of Art Professor MFA, University of Pennsylvania BS, Skidmore College MFA, School for American Craftsmen, David Love Rochester Institute of Technology Senior Lecturer BFA, Columbus College of Art & Design Charles Cooper MFA, Pennsylvania State University Lecturer BFA, Philadelphia College of Art Robert McGovern MFA, Yale University Professor Emeritus Diploma, Philadelphia College of Art Michael Grothusen Senior Lecturer Larry Mitnick BFA, University of Kansas Associate Professor MFA, Tyler School of Art, Temple BArch, Cooper Union University MArch, Harvard University Diane Pepe Senior Lecturer BFA, Carnegie Mellon University MFA, University of New Mexico

59 Crafts Faculty Barbara Mail Crafts Senior Lecturer Susie Brandt BS, State University of New York at Buffalo James Makins Assistant Professor MFA, State University of New York Chairperson BFA, Philadelphia College of Art at New Paltz 215-717-6100 MFA, The School of the Art Institute of Chicago James Makins The Crafts Department seeks to develop Professor artists of originality and resourcefulness Sharon Church BFA, Philadelphia College of Art who can excel in the most competitive Professor MFA, Cranbrook Academy of Art professional environment. Studio experi- BS, Skidmore College ence is provided in four major craft areas: MFA, School for American Craftsmen, Rod McCormick ceramics, fibers, metals, and wood. There Rochester Institute of Technology Professor are also offerings in glass, plaster and BFA, Tyler School of Art, Temple papermaking to complement the curriculum. William Daley University Each crafts area offers a balanced Professor Emeritus MFA, Rhode Island School of Design concentration in both the technical and BA, Massachusetts College of Art aesthetic aspects of the medium. While MA, Columbia Teachers College Kris Parker practical training and specialized skills are Senior Lecturer necessary for creative ability, the conceptual Christopher Darway BFA, Maryland Institute and expressive evolution of each student is Senior Lecturer MFA, Tyler School of Art, Temple the essential focus of the department. An BFA, Philadelphia College of Art University ongoing study of the contemporary crafts movement is seen as an integral element for Larry Donahue Diane Pepe those involved in the program. The range Adjunct Associate Professor Senior Lecturer of faculty in each area provides the student BFA, Philadelphia College of Art BFA, Carnegie Mellon University with exposure to a diversity of professional MA, The University of the Arts MFA, University of New Mexico perspective and experience. Through an incisive and rigorous Rachel Fuld Judith Schaechter curriculum, the department prepares Lecturer Adjunct Associate Professor students for professional involvement in BA, Oberlin College BFA, Rhode Island School of Design their craft. Upon graduation, students elect to Roland Jahn Warren Seelig become independent artists, teachers, or Associate Professor Distinguished Visiting Professor designers, or find employment in industry. BA, MS, MFA, University of Wisconsin BS, Philadelphia College of Textiles Individuals often combine these occupa- and Science tions in order to meet their individual Gabrielle Kanter MFA, Cranbrook Academy of Art needs and goals. Lecturer BFA, The University of the Arts Lizbeth Stewart Academic Regulations MFA, Cranbrook Academy of Art Associate Professor BFA, Moore College of Art Students must achieve a grade of “C” or better in all Philadelphia College of Art Alec Karros Roy Superior and Design major course requirements and Visiting Associate Professor Professor any required courses in other departments, BFA, Philadelphia College of Art BFA, Pratt Institute including a discipline history if applicable. MFA, Rhode Island School of Design MFA, Yale University Students are required to repeat “C-” or lower grades in all major course require- Lucartha Kohler Petras Vaskys ments. The degree requirement for that Senior Lecturer Professor Emeritus student will be increased by the number of Moore College of Art BFA, Art Institute, Kaunas, Lithuania credits that must be repeated. Carnegie Mellon University MFA, Academy of Fine Arts, Rome, Italy Jack Larimore Senior Lecturer BS, Michigan State University

60 Crafts Credit Requirements Media Specific Course Offerings: Core Studio Projects Sophomore Credits CR 211 A/B Introduction to Throwing Courses CR 200 A/B Projects I 6.0 CR 212 A/B Introduction to Handbuilding Each semester, all crafts students take CR XXX Media Specific Courses * 9.0 CR 221 A Introduction to Fibers Projects, a core studio course. These Studio Electives 3.0 Mixed Media courses provide aesthetic structure and Liberal Arts 12.0 CR 221 B Introduction to Color and involve advanced discussion and investiga- the Loom tion of broader crafts issues, with critique Sophomore Year Total 30.0 of students’ work. Students then have freedom to choose from a variety of Junior Credits CR 222 Introduction to Dyeing and technique-based courses, which aid in CR 300 A/B Projects II 6.0 Off Loom Construction crafting that aesthetic. Students are CR XXX Media Specific Courses * 9.0 CR 223 A/B Papermaking advised into the appropriate levels (sopho- Studio Electives 6.0 CR 227 Experimental Costume Design more, junior, or senior) of Projects. Liberal Arts 9.0 CR 231 A/B Introduction to Glassblowing At the senior level, Projects is a forum Junior Year Total 30.0 CR 232 Stained Glass for the discussion of the modern craft CR 241 A Body Adornment aesthetic. Students examine late 19th- and Senior Credits CR 241 B Introduction to Jewelry 20th-century art and design ideas and CR 400 A/B Projects III 6.0 CR 242 Introduction to Metalsmithing issues that have informed the contemporary CR XXX Media Specific Courses * 6.0 crafts fields. Emphasis is placed on the Studio Electives 9.0 CR 243 Jewelry Rendering and Design interdependency of all of the arts with Liberal Arts 9.0 CR 245 Art for the Body particular attention given to the unique Senior Year Total 30.0 CR 249 Enameling contribution of crafts’ ideology and CR 251 Introduction to Molding practice. Topical discussions with student and Casting participation, guest lecturers, and analyses * Students must choose at least 12 credits of historical precedents aid students in at the 300 level in ceramics, fibers, metals CR 252 Plaster Workshop finding validity and contemporary and/or wood. CR 253 Ceramic Technology relevancy in their work. Topics include: CR 255 Large Scale Handbuilding making an artist’s presentation, resume and * Please note: HU 253 History of Crafts CR 256 Ceramics portfolio preparation, writing an artist’s is required of all Crafts majors as part of CR 261 Introduction to Wood statement, record keeping and taxes, grant the total Liberal Arts distribution. writing, and career opportunities. CR 277 Fabric Resist and Embellishment CR 278 Fabric Printing Media-specific Studio CR 279 Paper Casting CR 280 Introduction to Metal Casting Courses CR 281 Introduction to Electroforming Media-specific studio courses are offered in the following areas: ceramics, fibers, CR 282 Metal Furniture glass, jewelry, metalsmithing, paper and CR 285 Introduction to Furniture wood. These courses present information CR 286 Wood Carving on materials, processes, and/or formats in CR 287 Low Tech Furniture tandem with crafts issues and concepts. A significant portion of time is spent in CR 322 A/B Advanced Fibers Mixed Media lecture and demonstration, with individual CR 329 Advance Textile Design faculty attention centering on technique. CR 331 Advanced Glassblowing Equal emphasis is placed on both, “why CR 332 Advanced Fusing and make it,” and, “how to make it.” Students Stained Glass can focus on a single area or access multiple areas to combine media. CR 370 A/B Advanced Throwing Students must take a minimum of 12 CR 371 A/B Advanced Ceramics media-specific credits at the 300 course CR 380 A/B Advanced Jewelry/Metals level. The prerequisite for 300 level courses is two 200 level courses in that same medium. CR 381 A/B Advanced Metals CR 385 A/B Advanced Furniture CR 386 Advanced Wood

61 Crafts Studio Certificate Program Fine Arts A Post-Baccalaureate Portfolio Development Program Gerald Nichols The University’s 30-credit certificate Chairperson program offers an intensely focused 215-717-6495 education in crafts. The program is designed for those students with bachelors The Fine Arts Department provides degrees who wish to become proficient students interested in Painting/Drawing, artists in one or more of the following Printmaking/Book Arts, and Sculpture an media-specific areas: ceramics, fibers, glass, integrated opportunity to experience these jewelry, metalsmithing, or wood. Courses fine arts media and concepts on the dealing with technique, philosophy, and sophomore level. In the junior and senior contemporary issues are aimed to develop years, concentrations in each area allow for an individual’s portfolio for further further development of the individual graduate study, or a career as an indepen- student as an emerging contemporary artist dent studio artist or design professional. and professional. The Crafts Studio Program offers the In addition to the major programs, the studio component of the University’s University offers a Digital Fine Arts undergraduate crafts program in a focused concentration. See the listing of Minors one-and-one-half or two year period. and Concentrations for information on Students accepted to the program take a requirements. minimum of 7.5 credits to a maximum of Engaging diverse media from charcoal to 12 credits per semester. the computer, Fine Arts graduates find Certificate students must take a mini- career opportunities as professional, mum of 12 media-specific credits at the exhibiting artists, curators and gallery 300 course level. The prerequisite for 300 personnel, critics, mural and portrait level courses is two 200 level courses in that painters, decorative artists, set designers, same medium. However, if an applicant’s printmakers, book binders, paper and book portfolio indicates enough experience in a conservators, graphic designers, commercial particular medium, 200 level prerequisites printers, mold-makers, commercial may be waived at the time of acceptance. sculptors, cinematic prop makers, special See the preceding section for a listing of effect artists, and teachers at elementary, Media Specific Courses. secondary and university levels. Certificate students benefit from taking courses with degree candidates in a quality undergraduate program. In addition to technically-oriented, media-specific courses, students take core courses involving design/ theory issues, criticism, and professional/ career practices. Admission is by portfolio and interview. Students with little or no formal art training will be required to take Founda- tion courses. The program advisor (in consultation with the student) will set the number of required prerequisites. These may be taken in advance of, or concurrently with, the certificate program.

62 Painting/Drawing Painting/Drawing Faculty Painting/Drawing Boris Putterman Credit Requirements Coordinator Eugene Baguskas 215-717-6495 Associate Professor Sophomore Credits BFA, Yale University Required Courses: The Painting/Drawing major provides a PT 202 A/B Sophomore Painting 6.0 firm basis for students to develop a profes- Eileen Goodman FA 222 A Drawing: Form and Space 3.0 sional involvement with their work. A Adjunct Associate Professor Select 3 credits from the following courses: 3.0 balance is sought between the acquisition BFA, Philadelphia College of Art SC 201 Sculpture I 3.0 of studio skills and the development of a SC 202 Sculpture II 3.0 critical intelligence. Susanna Heller Adjunct Associate Professor Select 3 credits from the following courses: 3.0 Students are encouraged, through the FA 222 B Drawing: rigor of studio activity, to understand the BFA, Nova Scotia College of Art and Design Form and Space 3.0 breadth of art in both its traditional and FA 223 Figure Modeling 3.0 contemporary forms, and to gain increasing Gerald Herdman FA 205 Concepts/Works authority in their own work. on Paper 3.0 Courses evolve from the study of basic Associate Professor working methods and concepts to the Certificate, Cleveland Institute of Art Select 3 credits from the following courses: 3.0 refinements of personal vision and aesthetic MFA, University of Pennsylvania PR 201 Relief/Monotype 3.0 judgment. In the final semester of the PR 204 Screen/Etching 3.0 senior year, each student is required to Steven Jaffe Liberal Arts 12.0 complete a thesis project, which culminates Associate Professor Sophomore Year Total 30.0 in a formal presentation of a paper and an BFA, Philadelphia College of Art exhibition of a coordinated body of work. MFA, Tyler School of Art, Temple Junior Credits The faculty of practicing professional University Required Courses: artists represents a diversity of attitudes and FA 333 A/B Attitudes/Strategies 6.0 ideals. Through the format of studio David Kettner PT 302 A/B Junior Painting 6.0 instruction, dialogue, and critique, they Professor Related Arts Electives ** 6.0 seek to instill in each student a habit of BFA, Cleveland institute of Art Liberal Arts 12.0 MFA, Indiana University self-instruction which will serve far beyond Junior Year Total 30.0 the program at the University. The Painting/Drawing Department Nathan Knobler Professor Senior Credits features its own gallery space where faculty, Required Courses: students, alumni, and invited artists have BFA, Syracuse University MA, Florida State University PT 402 A/B Senior Painting 6.0 an opportunity to exhibit their work. PT 424 Drawing References 3.0 Studio activity is augmented by lectures, Eileen Neff PT 451 Advanced Painting symposia, seminars, visiting artists, and Projects 1.5 field trips to museums and galleries. Adjunct Associate Professor BA, Temple University FA 460 Senior Fine Arts Seminar 1.5 BFA, Philadelphia College of Art Related Arts Electives ** 12.0 Academic Regulations Liberal Arts 6.0 Students must achieve a grade of “C” or MFA, Tyler School of Art, Temple Senior Year Total 30.0 better in all Philadelphia College of Art University and Design major course requirements and Gerald Nichols any required courses in other departments, ** Related Arts Electives including a discipline history if applicable. Professor Diploma, Cleveland Institute of Art Total of 21 credits – must include at least Students are required to repeat “C-” or 9 studio credits outside of the major. lower grades in all major course require- MFA, University of Pennsylvania ments. The degree requirement for that student will be increased by the number of Boris Putterman credits that must be repeated. Associate Professor Diploma, Cooper Union School of Art BFA, Philadelphia College of Art MFA, Indiana University

63 Printmaking/Book Arts Facilities Printmaking/Book Arts Faculty Lois M. Johnson The Printmaking Department provides Coordinator extensive facilities for waterbased Carol Barton 215-717-6490 screenprinting, stone and plate lithography, Senior Lecturer relief, etching and non-silver photographic BFA, Washington University The Printmaking major bases its processes. The bookbinding room houses instructional program on the development book presses, board shear, and a guillotine Denise Carbone and realization of visual ideas through paper cutter. The letterpress studio Senior Lecturer multiple image-making processes. The contains three Vandercook presses for BFA, Glassboro State College primary objectives are to develop concep- printing handset type and polymer plates MFA, The University of the Arts tual abilities and technical proficiencies over 100 fonts of varied type. The offset leading the student to acquire personal lithography press room features a Davidson James Dupree imagery and professional competence in 901 offset press used by the students for Adjunct Assistant Professor printmaking media. hands-on experience. BFA, Columbus College of Art The department provides the expertise Another important resource is the and Design of a faculty of professional artists for study Borowsky Center for Publication Arts, MFA, University of Pennsylvania in traditional and contemporary methods. which is equipped with a Heidelberg The major graphic media explored include KORS offset press and full darkroom for James Green relief processes, etching (intaglio), lithogra- experimental and production printing of Lecturer phy-stone, metal plate, and offset and student, faculty, and visiting artist works. BFA, Oberlin College waterbased screenprinting and non-silver MPh, Yale University photographic printmaking. Courses in Academic Regulations MLA, Columbia University book and typographic design stimulate Students must achieve a grade of “C” or experimentation in unifying the elements of better in all Philadelphia College of Art Lori Hamilton-Spencer paper, prints, typography, and bookbinding. and Design major course requirements and Senior Lecturer Visiting artists, field trips, and guest any required courses in other departments, BFA, State University of New York, lecturers supplement the studio experience. including a discipline history if applicable. Purchase Using the city as an extended workshop, Students are required to repeat “C-” or MFA, The University of the Arts Print students attend seminars and museum lower grades in all major course require- collections. The Print Study Seminar is ments. The degree requirement for that Lois M. Johnson held in the Print Room at the Philadelphia student will be increased by the number of Professor Museum of Art and furnishes a unique credits that must be repeated. BS, University of North Dakota opportunity to study original prints from the MFA, University of Wisconsin-Madison fifteenth through the twentieth centuries. The main emphasis over the three-year Nathan Knobler undergraduate period of study is on the Professor evolution of students as artists who make BFA, Syracuse University individualized demands upon the media. MA, Florida State University As with any study in the fine arts, the experience should be multidimensional, Hedi Kyle reflective of a broad range of personal and Adjunct Associate Professor professional involvement, and reinforced Diploma, Werk-Kunstschule, Wiesbaden, with stimulation from related areas of Germany interest, including drawing, painting, digital arts, photography, graphic design, illustration, sculpture, and crafts. The undergraduate curriculum is enhanced by the graduate program in Book Arts/Printmaking. This two-year course of study of 60 credits culminates in a Master of Fine Arts Degree. The program provides the opportunity for individual artist’s expression in limited edition bookworks. Undergraduate students work alongside MFA candidates in studios, workshops, and some major and elective classes. (Students interested in the MFA degree in Book Arts/Printmaking should contact the Department of Printmaking or the Office of Admissions.)

64 Peter Lister Printmaking Senior Lecturer Credit Requirements Pennsylvania Academy of the Fine Arts The Barnes Foundation, Philadelphia Sophomore Credits Required Courses: Scott McMahon FA 222 A Drawing: Form Lecturer and Space 3.0 BFA, The University of the Arts PR 201 Relief/Monotype 3.0 PR 204 Screen/Etching 3.0 Mary Phelan PT 202 Sophomore Painting 3.0 Associate Professor SC 201 Sculpture I 3.0 BS, The College of Saint Rose Choose 3 credits from the following courses: 3.0 MA, University of Wisconsin-Madison FA 222 B Drawing: Form and Space 3.0 or Anthony Rosati FA 223 Figure Modeling 3.0 or Adjunct Associate Professor FA 205 Concepts/Works BA, Rider College on Paper 3.0 MFA, Tyler School of Art, Temple Liberal Arts 12.0 University Sophomore Year Total 30.0

Patricia M. Smith Junior Credits Assistant Professor Required Courses: BA, Immaculata College FA 333 A/B Attitudes/Strategies 6.0 MAEd, Philadelphia College of Art PR 300 Lithography 3.0 PR 301 Printmaking Workshop 1.5 Laurel Schwass-Drew PR 306 Print Study Seminar I 1.5 Lecturer PR 307 Book Arts: Concepts BFA, The University of the Arts and Structure 3.0 Related Arts Electives * 6.0 Sarah Van Keuren Liberal Arts 12.0 Adjunct Professor BA, Swarthmore College Junior Year Total 33.0 MFA, University of Delaware Senior Credits Required Courses: PR 400 Printmaking: Advanced Workshop 3.0 PR 406 Print Study Seminar II 1.5 PR 420 Thesis Workshop 3.0 FA 460 Senior Fine Arts Seminar 1.5 Related Arts Electives * 12.0 Liberal Arts 6.0 Senior Year Total 27.0

* Related Arts Electives Total of 21 credits – must include at least 9 studio credits outside of the major.

65 Sculpture Sculpture Faculty Sculpture Credit Requirements Barry Parker Coordinator Harvey Citron Sophomore Credits 215-717-6104 Adjunct Associate Professor Required Courses: BFA Ed, Pratt Institute SC 201 Sculpture I 3.0 Sculpture reflects one of the deepest Diploma, Academy of Fine Arts, Rome SC 202 Sculpture I 3.0 creative impulses of artistic endeavor. FA 223 Figure Modeling 3.0 Sculptors today are called upon to create Laura Frazure Select 3 credits from the following courses: 3.0 images that range in size from coins to Lecturer PT 202 A Sophomore Painting 3.0 monuments. Usually working as indepen- BFA, The University of the Arts PT 202 B Sophomore Painting 3.0 dent artists, sculptors make objects for Select 3 credits from the following courses: 3.0 exhibition and sale, or work on commission Jeanne Jaffe Associate Professor PR 201 Relief/Monotype 3.0 for architects and planners. PR 204 Screen/Etching 3.0 The Sculpture major offers instruction BFA, Tyler School of Art, Temple and experience in both the traditional and University Select 3 credits from the following courses: 3.0 the most innovative aspects of the art. MFA, Alfred University FA 222 B Drawing: Resources are available for work in clay, Form and Space 3.0 wood, stone, ferrous and nonferrous metals, Elsa Johnson FA 223 Figure Modeling 3.0 plaster, wax, and plastic. Associate Professor FA 205 Concepts/Works The department’s instructional aim is to BFA, Cooper Union on Paper 3.0 provide a sound, balanced exposure to the MFA, University of Pennsylvania Liberal Arts 12.0 formal technical and intellectual aspects of Sophomore Year Total 30.0 sculpture, in preparation for continued Barbara Lekberg professional growth beyond the under- Senior Lecturer Junior Credits graduate years. The curriculum is carefully BFA, MA, University of Iowa Required Courses: designed to provide both disciplined FA 333 A/B Attitudes/Strategies 6.0 instruction and time for individual creative Mashiko Nakashima Sculpture Electives * 6.0 development. Senior Lecturer Related Arts Electives ** 6.0 At the introductory level, fundamentals Brooklyn Museum School of Art Liberal Arts 12.0 of sculpture are taught along with technical Junior Year Total 30.0 procedures in a variety of materials. At Barry Parker Professor advanced levels, students may specialize Senior Credits and are increasingly expected to initiate and BFA, Eastern Michigan University MFA, University of Massachusetts Required Courses: complete works reflecting their own artistic SC 401 Sculpture III 3.0 interests under critical supervision. SC 402 Sculpture III 3.0 Studio and shop facilities are comprehen- John Phillips FA 460 Senior Fine Arts Seminar 1.5 sive and include air tools for carving, a Senior Lecturer Sculpture Electives * 4.5 foundry for bronze and aluminum casting, a BA, Temple University Related Arts Electives ** 12.0 wood and fabricating shop, a complete metal Liberal Arts 6.0 shop for forging and three types of welding, and a moldmaking shop. Technical Senior Year Total 30.0 assistance and supervision in the facilities is provided by a full-time shop supervisor who is in charge of maintaining the equipment. * Sculpture Electives Faculty members are chosen from a Choose from: variety of backgrounds, and field trips to SC 220 A Molding and Casting New York, Washington, and neighboring SC 241 Intro. to Sculpture Projects museums serve to expand students’ visions. SC 242 Intro. to Sculpture Projects SC 260 A Structure of the Figure Academic Regulations SC 260 B Structure of the Figure Students must achieve a grade of “C” or SC 321 Carving better in all Philadelphia College of Art SC 421 Metals and Design major course requirements and SC 431 A Advanced Figure Modeling any required courses in other departments, SC 431 B Advanced Figure Modeling including a discipline history if applicable. SC 441 Advanced Projects Students are required to repeat “C-” or SC 442 Advanced Projects lower grades in all major course require- ments. The degree requirement for that ** Related Arts Electives student will be increased by the number of Total of 21 credits – must include at least credits that must be repeated. 9 studio credits outside of the major.

66 and Design major course requirements and Stacey Marshall Graphic Design any required courses in other departments, Lecturer including a discipline history if applicable. BFA, The University of the Arts Students are required to repeat “C-” or Debra Drodvillo lower grades in all major course require- Chris Myers Chairperson ments. The degree requirement for that Associate Professor 215-717-6225 student will be increased by the number of BA, University of Toledo credits that must be repeated. MFA, Yale University Graphic designers play a key role in our information-based society. They give form Lee Willett to the interface between users and our Graphic Design Faculty Adjunct Associate Professor culture of rapidly proliferating products, BS, The Ohio State University places, processes, information, and services. Hans Allemann Post-graduate study, Allgemeine The graphic design department, since its Adjunct Professor Gewerbeschule School of Design, beginning, has sought to give students the Swiss National Diploma, School of Design, Basel, Switzerland basis to solve problems in communication Basel, Switzerland in a way that merges concerns for fidelity to Chris Zelinsky content, for the visual aesthetic, and for Laurence Bach Associate Professor engaging the reader-viewer’s rapport. Professor Swiss National Diploma, School of Design, The faculty and students are engaged in a BFA, Philadelphia College of Art Basel, Switzerland collaborative process of exploring the New Certificate, Graduate Study, School of as it emerges. For graphic design the New Design, Basel, Switzerland has meant especially the transformation of Graphic Design media, effecting how we create messages, John Connolly Credit Requirements how they are transmitted, and understand- Senior Lecturer BFA, The University of the Arts ing the changing landscape of design where Sophomore Credits media and culture intersect. MFA, Yale University Throughout the three years of major Required Courses: concentration, problems in graphic com- Debra Drodvillo GD 210 Letterform Design 3.0 munication are combined with exploratory Assistant Professor GD 211 A/B Descriptive Drawing 6.0 and experimental studies in drawing, color, BFA, Cooper Union GD 212 Typography Fundamentals 3.0 photography, typography, and emerging MFA, Yale University GD 213 A/B Design Systems 6.0 technologies. The curriculum is supple- EM 201 Production/Electronic mented by special lecture programs; Inge Druckrey Media I 1.5 workshops with invited design firms; and Professor Studio Electives 4.5 on-site studio seminars in selected design AB, University of Basel, Basel, Switzerland Liberal Arts 6.0 Swiss National Diploma, School of Design, offices and studios, paper and printing Sophomore Year Total 30.0 plants, museums and libraries, and with Basel, Switzerland film and computer graphic producers. Richard Felton Junior Credits Opportunities for additional study in Professor Required Courses: fine arts, illustration, photography, BS in Design, University of Cincinnati GD 306 A/B Typography Emphasis 6.0 animation, filmmaking, and emerging MFA, Yale University GD 311 A/B Communications Studio 6.0 technologies are available. EM 202 Production/Electronic Designers work across several media and Dorothy Funderwhite venues–from handmade images to digital Media II 1.5 Lecturer EM 203 Digital Multimedia images, from still images to time-based BFA, The University of the Arts communications, from print-oriented Techniques 1.5 Certificate, Graduate Study, School of Studio Electives 3.0 problems to communications in cyberspace. Design, Basel, Switzerland With successful completion of the Liberal Arts 12.0 program, students are prepared for entry- Kenneth Hiebert Junior Year Total 30.0 level positions as graphic designers with Professor Emeritus design studios, publishers, corporations, BA, Bethel College Senior Credits nonprofit institutions, governmental Swiss National Diploma, School of Design, Required Courses: agencies, architects and planners, network Basel, Switzerland GD 411 A Design Studio 3.0 or cable broadcasters, film and video GD 411 B Design Studio: producers, or advertising agencies. Peter Kery Senior Degree Project 3.0 The faculty are practicing professionals Lecturer BFA, Philadelphia College of Art GD 412 A/B Problem Solving 6.0 with distinguished records of accomplish- Studio Electives 6.0 ment, sensitive and responsive to the Liberal Arts 12.0 changes in the field of design, yet not William Longhauser limited by its current practices. Professor Senior Year Total 30.0 BS in Design, University of Cincinnati Academic Regulations MFA, Indiana University Students must achieve a grade of “C” or Certificate, Graduate Study, School of Design, Basel, Switzerland better in all Philadelphia College of Art 67 Illustration Faculty Philip Singer Illustration Senior Lecturer Michael Adams BFA, School of Visual Arts Mark Tocchet Lecturer Chairperson BFA, Philadelphia College of Art Robert Stein 215-717-6240 Professor Christine Cantera BFA, Massachusetts College of Art Illustrators give visual substance to Senior Lecturer MFA, Tyler School of Art, thoughts, stories, and ideas. The Illustra- BFA, Philadelphia College of Art Temple University tion Department seeks to prepare its students for entry into the fields of book Joseph DiPalma Stephen Tarantal and periodical publishing, promotion, Lecturer Professor education, advertising, and specialty fields. BFA, The University of the Arts BFA, Cooper Union Illustrators must call upon a broad MFA, Tyler School of Art, range of traditional and up-to-date Michael Dooling Temple University competencies to respond to today’s visual Senior Lecturer problems. As visual problem-solvers and BFA, Glassboro State College Mark Tocchet communicators, illustrators need to be MFA, Syracuse University Associate Professor open-minded, eclectic, flexible, and BFA, School of Visual Arts imaginative. The illustrator’s solution Renee Foulks should be appropriate, intelligent, Senior Lecturer expressive, and visually engaging. BFA, Moore College of Art Illustration In order to prepare for a career in this MFA, Tyler School of Art, Temple Credit Requirements competitive field, The University of the University Arts Illustration student develops skills Sophomore Credits that encompass two-dimensional media: Ralph Giguere Required Courses: from painting and drawing to photography, Adjunct Associate Professor IL 200 Pictorial Foundations 6.0 technical image-making, reproduction BFA, The University of the Arts IL 202 Figure Anatomy 6.0 processes, and emerging opportunities in IL 204 Typography 3.0 electronic imaging. Students may Linda Gist Required Studio: concentrate on either a design, digital or Senior Lecturer PF 209 Photo for Illustrators 3.0 pictorially oriented curriculum. These BFA, The University of the Arts Liberal Arts 12.0 skills are nurtured within a stimulating Sophomore Year Total 30.0 cultural climate provided by the resources Al Gury of the faculty, visiting professionals, gallery Senior Lecturer Junior Credits exhibition program, the University, and the BA, St. Louis University Required Courses: city at large. Each student progresses from IL 300 Illustration Methods 6.0 general competencies to a personal Sabin Howard IL 301 Design Methods 3.0 viewpoint, clarified career goals, and a Senior Lecturer IL 302 Figurative Communication 3.0 professional attitude. BFA, Philadelphia College of Art Select 3 credits from the following courses: 3.0 MFA, New York Academy of Art IL 303 Figure Utilization 3.0 Academic Regulations IL 304 Sequential Format 3.0 Students must achieve a grade of “C” or Paul King Studio Electives 6.0 better in all Philadelphia College of Art Senior Lecturer Liberal Arts 9.0 Certificate, Pennsylvania Academy and Design major course requirements and Junior Year Total 30.0 any required courses in other departments, of Fine Art including a discipline history if applicable. BFA, Philadelphia College of Art MFA, Boston University Senior Credits Students are required to repeat “C-” or Required Courses: lower grades in all major course require- IL 400 Illustration 6.0 ments. The degree requirement for that Earl Lewis Adjunct Associate Professor IL 403 Portfolio Seminar 6.0 student will be increased by the number of Studio Electives 9.0 credits that must be repeated. BFA, MFA, Tyler School of Art, Temple University Liberal Arts 9.0 Senior Year Total 30.0 Phyllis Purves-Smith Associate Professor BFA, Cooper Union MFA, Tyler School of Art, Temple University

68 instructional focus shifts to career planning, Industrial Design Industrial Design portfolio preparation, and the development Credit Requirements of information gathering and business Anthony Guido communication skills to better prepare the Sophomore Credits Chairperson student to enter the profession. Required Courses: 215-717-6250 Due to the wide scope, and creative yet ID 200 Studio 1: Projects 6.0 practical character of an Industrial Design ID 220 Studio 2: Techniques 6.0 The Industrial Design Department education, many career opportunities await ID 290 Design Issues Seminar 3.0 provides a professional education for those the graduate: with consulting design firms, ID 214 Materials and Processes 3.0 wishing to bring order, utility, aesthetics corporate design staffs, manufacturing Studio Electives 3.0 and appropriateness to the products, facilities, exhibit houses, retailers, advertis- Liberal Arts 9.0 contents, and processes of modern global ing/marketing agencies, research organiza- Sophomore Year Total 30.0 society. The program prepares students for tions, museums, educational institutions, careers in the design of products, environ- and government agencies, all of whom Junior Credits ments, and design systems/strategies, recognize the need to constantly improve Required Courses: integrating the design of communications, the appearance, manufacture, performance, ID 300 Studio 3: Projects 6.0 furniture, equipment, interfaces, and and social value of their products. ID 320 Studio 4: Techniques 6.0 interiors/exhibits. Also addressed are issues ID 326 Intro to Human Factors 3.0 of human factors research, computer-aided Academic Regulations ID 327 Contemporary Technologies design, product development, manufacturing, Students must achieve a grade of “C” or Seminar 3.0 business, and a host of other considerations better in all Philadelphia College of Art Studio Electives 3.0 related to the humanistic uses of technology. and Design major course requirements and Liberal Arts 12.0 any required courses in other departments, Industrial Design involves considerable Junior Year Total 33.0 conceptual experimentation. An encom- including a discipline history if applicable. Students are required to repeat “C-” or passing investigation into our evolving and Senior Credits material product culture and contemporary lower grades in all major course require- ments. The degree requirement for that Required Courses: social issues provides a forum in which ID 400 Studio 5: Projects 6.0 students may draw from diverse sources: student will be increased by the number of credits that must be repeated. ID 420 Studio 6: Professional Comm. 6.0 high-technology, fine-arts, industrial ID 490 Design Seminar 6.0 production, architectural constructions, Studio Electives 3.0 invention, social behavior, craft techniques, Industrial Design Faculty Liberal Arts 9.0 and contemporary design culture. Senior Year Total 30.0 The department places emphasis on the development of graphic, sculptural, and Jean Gerth spatial design skills as a complement to Senior Lecturer BSID, The Ohio State University creative problem solving, technical Recommended Electives innovation, and effective communications Anthony Guido While none of the following are required during the solution of actual problems for graduation, they are recommended by of design. Associate Professor BSID, The Ohio State University the department. After initial coursework to introduce ID 113 Freshman ID basic design, communication and collabora- ID 312 Architectonics tion processes, including computer-aided Jamer Hunt Visiting Assistant Professor ID 425 Advanced Computer design and model making, students begin Aided Design to develop and apply theory, skill, and BA, Brown University PhD, Rice University PF 208 Photography for Industrial knowledge to functional design problems, Designer many brought into the studio by industry. Jonas Milder CR 252 ID Plaster Workshop Visiting designers also bring knowledge of EM 110 Computer Concepts current design, manufacturing, and Assistant Professor BID, Fachhochschule fuer Gestaltung HU 251 History of Design professional practices into studio and HU 452 Topics of Design lecture courses, while visits to industry MID, Hochschule der Kuenste provide opportunities for direct observation and firsthand knowledge of design and Pavel Ruzicka manufacturing processes. Based on this Lecturer foundation of skills, experience, and MME, University of Engineering, information, emphasis in the final semesters Czech Republic shifts the responsibility for integration of MID, The University of the Arts the total design process to the individual student, who works directly with a client/ Jane Swanson sponsor on a thesis project prior to Model Lab Supervisor/Materials and Processes graduation. During the final semester the Researcher BS, Iowa State University 69 Academic Regulations Harris Fogel Media Arts Students must achieve a grade of “C” or Assistant Professor better in all Philadelphia College of Art BA, Humboldt State University MA, New York University Harris Fogel and Design major course requirements and any required courses in other departments, Chairperson Judy Gelles 215-717-6300 including a discipline history if applicable. Students are required to repeat “C-” or Senior Lecturer BS, Boston University The Media Arts Department offers lower grades in all major course require- ments. The degree requirement for that MEd, University of Miami majors in photography, film/video, and MFA, Rhode Island School of Design animation while providing elective classes student will be increased by the number of to the University at large. The three-year credits that must be repeated. David Graham curriculum of each major is built around a Associate Professor sequence of classes designed to move the BFA, Philadelphia College of Art student to a position of independence Media Arts Faculty MFA, Tyler School of Art, Temple University within the discipline. Many of our studio George Akerley courses feature a written component to Adjunct Associate Professor provide a balance between technical skills, Jenny Lynn BM, Composition, Philadelphia Senior Lecturer and the critical thinking and historical Musical Academy context necessary for a complete exploration BFA, Tyler School of Art, Temple MM, Composition, Philadelphia College University of one’s medium. An introduction to the of Performing Arts fundamental ideas and techniques of the Gabriel Martinez medium fills much of the sophomore year. Laurence Bach Adjunct Assistant Professor During the two remaining years, the Professor BFA, University of Florida, Gainesville student is expected to refine techniques, BFA, Philadelphia College of Art MFA, Tyler School of Art, Temple Certificate, Graduate Study, School of develop a sense of personal vision, identify University goals, and pursue activities directly related Design, Basel, Switzerland to professional practice. Bernardo Morillo The Media Arts Department provides Rick Barrick Senior Lecturer Lecturer extensive studio facilities and equipment BFA, The University of the Arts for students enrolled in its courses. A BA, University of Georgia MFA, School of Visual Arts nominal fee is required for access. Nicholas Muellner Philadelphia’s professional resources have Lowell Boston Senior Lecturer allowed the department to develop an Adjunct Associate Professor BA, Yale University extensive internship program for advanced BFA, The University of the Arts MFA, Tyler School of Art, Temple Media Arts majors. This program allows MFA, California Institute of the Arts University students to gain professional experience while earning academic credit. Internship John J. Carlano Vladan Nikolic sponsors have included commercial photo- Adjunct Associate Professor Senior Lecturer graphy studios; galleries; independent artists; BFA, Philadelphia College of Art BA, Belgrade University animation, film, video, and multimedia MA, The New School for Social Research production houses; television stations; Connie Coleman medical facilities; magazine and book Adjunct Professor Michael O’Reilly publishers; and digital imaging studios. BFA, MFA, Rhode Island School of Design Lecturer The Media Arts Department also offers BS, Indiana University of Pennsylvania minor concentrations in all three of its John Columbus Adjunct Associate Professor Jeannie Pearce programs–film/video, animation, and Adjunct Professor photography, which are available to BFA, Hartford Art School MFA, Columbia University School BFA, Rochester Institute of Technology students outside of their major studio MFA, University of Delaware program. Those interested in this option of the Arts should consult with both their major David Deneen Kathryn Ramey advisor and the Media Arts Department. Senior Lecturer Lecturer BFA, The University of the Arts BA, Evergreen State University MFA, Temple University Dominic Episcopo Lecturer BFA, The University of the Arts Alida Fish Professor BA, Smith College MFA, Rochester Institute of Technology 70 Kathy Rose Photography Photography Senior Lecturer Credit Requirements BFA, Philadelphia College of Art MFA, California Institute of the Arts This major prepares students for a wide range of careers in photography by Sophomore Credits Required Courses: Peter Rose providing a solid grounding in traditional photography and digital imaging. In PF 210 A Introduction to Film I 3.0 Professor PF 211 A/B Introduction to BA, City College of New York the sophomore year, students receive in- depth training in craft and ideas fundamen- Photography I & II 6.0 PF 217 Color Concepts 3.0 Joel Schlemowitz tal to photographic imaging. Technical Lecturer exercises emphasize electronic imaging as Studio Electives 6.0 BS, Ithaca College well as traditional black-and-white and Liberal Arts * 12.0 color processes. The curriculum covers Sophomore Year Total 30.0 John Serpentelli both descriptive photography and more Lecturer experimental manipulated image making. Junior Credits BFA, MAT, The University of the Arts During the junior year, students Required Courses: consider photographic forms beyond the PF 311 A/B Junior Photo Workshop Sandy Sorlien traditional print such as the photographic I & II 6.0 Senior Lecturer book, non-silver processes, and installation PF 313 A/B Basic Photo Studio I & II 6.0 BA, Bennington College work. Large-format photography and PF 315 Digital Photography studio practice with its control of artificial Workshop 3.0 Louis Squillace lighting are also part of the junior curricu- Select 3 credits from the following courses: 3.0 Lecturer lum. In both the junior and senior PF 323 Selected Topics: Photo 3.0 BFA, Tyler School of Art, Temple years, students may pursue the study of PF 413 Professional Practices 3.0 University specialized issues on an elective basis, PF 499 Internship 3.0 MFA, University of Oregon including illustration and editorial PF 999 Independent Study 3.0 Karl Staven photography, photojournalism, environ- Studio Electives 3.0 Assistant Professor mental portraiture, creative portfolio Liberal Arts * 9.0 BA, Yale University development, advanced digital imaging, Junior Year Total 30.0 MA, Harvard University and professional practice. MFA, New York University The senior year primarily involves the Senior Credits production of an independent body of work Required Courses: Lynn Tomlinson of the student’s own choosing and direc- PF 411 A/B Senior Photo Assistant Professor tion. The senior thesis provides the Workshop I & II 6.0 BA, Cornell University opportunity to begin the process of self- PF 415 A/B Senior Photo MA, The University of the Arts definition as photographer and artist. A Seminar I & II 6.0 MA, University of Pennsylvania required senior-level course in photographic Studio Electives 9.0 criticism, coupled with required classes in Liberal Arts * 9.0 Wendy Weinberg the history of photography, culminates the Senior Year Total 30.0 Assistant Professor strong emphasis that the department places BA, University of Michigan on critical thinking and self-expression in MFA, Temple University words as well as through photographs. * Please note: HU 255 History of An outstanding resource available to Photography is required of all Photography Jayne Wexler students of photography is the Paradigm Lecturer majors as part of the total Liberal Arts Lecture Series, hosted by the Media Arts distribution. BFA, Philadelphia College of Art Department each spring. Through this and Design series, photographers of national and John Woodin international reputation visit the campus Senior Lecturer to discuss their work and meet with BFA, University of New Orleans the students. MFA, Tyler School of Art, Temple University Ken Yanoviak Lecturer BA, Temple University

71 Film/Video Film/Video Animation Credit Requirements The independent film and video artist Animation brings together a wide variety serves as the model for our program in Sophomore Credits of interests and skills. While the final both live-action film and animation. At the Required Courses: presentation utilizes the technology of same time, a solid preparation and PF 210 A/B Introduction to filmmaking, the visual materials being foundation in craft has enabled an extremely Film I & II 6.0 animated may be generated through such high percentage of our graduates to enter PF 211 A Introduction to diverse disciplines as painting and drawing, the professional field as free-lance editors, Photography I 3.0 sculpture, illustration, graphic arts, and sound recordists, cinematographers, PF 212 A Animation Drawing I 3.0 still photography. The Animation program technicians, animators, screenwriters, Studio Electives 6.0 offers instruction in both traditional and and directors. Liberal Arts * 12.0 experimental approaches to the medium. The filmmaking major provides Sophomore Year Total 30.0 This broad-based approach has allowed students with a background in all phases graduates to obtain professional positions of film and video production, including Junior Credits both in the animation industry and as film cinematography, videography, film Required Courses: independent free-lancers. Alumni become and video editing, and sound/image PF 310 A/B Junior Cinema directors, storyboard artists, production manipulation. As in still photography, the Production I & II 6.0 assistants, special-effects animators, and filmmaking students acquire a strong WM 219 Writing for Film 3.0 character designers. background in criticism, theory, and history PF 324 Film Forum: of media. All film/video majors pursue at Selected Topics 3.0 Animation least one practical internship as part of PF 320 Film Sound 3.0 Credit Requirements the degree requirements. PF 322 Media Technology 3.0 Media study at the University has Studio Electives 3.0 Sophomore Credits been supplemented by a number of other Liberal Arts * 9.0 Required Courses: PF 210 A/B Introduction to activities, including the Paradigm Junior Year Total 30.0 Lecture Series. Through this series, Film I & II 6.0 which occurs each spring, film and video PF 212 A/B Animation Drawing I & II 6.0 Senior Credits PF 216 Computer Animation I 3.0 artists of national and international Required Courses: reputation have visited the campus for Studio Electives 3.0 PF 410 A/B Senior Cinema Liberal Arts * 12.0 lectures and screenings. Production I & II 6.0 PF 424 Time: A Multi- Sophomore Year Total 33.0 disciplinary Seminar 3.0 PF 499 Internship 3.0 Junior Credits Studio Electives 9.0 Required Courses: Liberal Arts * 9.0 PF 312 A/B Junior Animation Workshop I & II 6.0 Senior Year Total 30.0 PF 316 Computer Animation II 3.0 PF 320 Film Sound 3.0 PF 322 Media Technology 3.0 * WM 251 and WM 252 Narrative Cinema Studio Electives 6.0 I & II are required of all Film/Video majors Liberal Arts * 9.0 as part of the total liberal arts distribution. Junior Year Total 30.0

Senior Credits Required Courses: PF 412 A/B Senior Animation Workshop I & II 6.0 WM 219 Writing for Film 3.0 or or PF 424 Time: A Multi- disciplinary Seminar 3.0 PF 324 Film Forum: Selected Topics 3.0 Studio Electives 9.0 Liberal Arts * 9.0 Senior Year Total 30.0

* WM 251 and WM 252 Narrative Cinema I & II are required of all Animation majors 72 as part of the total Liberal Arts distribution. Film/Animation

This dual Film/Animation major requires 132 credits for graduation.

Film/Animation Credit Requirements

Sophomore Credits Required Courses: PF 210 A/B Introduction to Film I & II 6.0 PF 211 A Introduction to Photography I 3.0 PF 212 A/B Introduction to Animation I & II 6.0 PF 216 Computer Animation I 3.0 Studio Electives 3.0 Liberal Arts * 12.0 Sophomore Year Total 33.0

Junior Credits Required Courses: PF 310 A/B Junior Cinema Production I & II 6.0 PF 312 A/B Junior Animation Workshop I & II 6.0 PF 316 Computer Animation II 3.0 PF 320 Film Sound 3.0 PF 322 Media Technology 3.0 Studio Electives 3.0 Liberal Arts * 9.0 Junior Year Total 33.0

Senior Credits Required Courses: PF 410 A/B Senior Cinema Production I & II 6.0 PF 412 A/B Senior Animation Workshop I & II 6.0 WM 219 Writing for Film 3.0 or or PF 424 Time: A Multi- disciplinary Seminar 3.0 PF 324 Film Forum: Selected Topics 3.0 PF 499 Internship 3.0 Studio Electives 3.0 Liberal Arts * 9.0 Senior Year Total 33.0

* WM 251 and WM 252 Narrative Cinema I & II are required of all Film/ Animation majors as part of the total Liberal Arts distribution.

73 department’s “Writing Proficiency Exam” Art Education Faculty Art Education before they can student teach. Those who score below 80% may be dismissed from Paul Adorno Janis Norman the Post-Baccalaureate Student Teacher Adjunct Assistant Professor Chairperson and Director Program. Students may test out of the AB, Georgetown University 215-717-6050 Professional Writing Intensive course MSEd, University of Pennsylvania by taking and passing the department Writing Proficiency Exam. Anne El-Omami Pre-Certification The Art Education concentration Associate Professor Concentration in Art provides a strong theoretical and practical BFA, BA, University of Nebraska, Lincoln foundation for teaching as a career. MA, University of Nebraska Education Through field experiences starting in the The teaching of art is a profession that sophomore year, the student is able to Vivian Ford allows for the artist-teacher’s continued explore teaching in a variety of traditional Adjunct Assistant Professor growth while nurturing the aesthetic and and alternative settings. Students are also BS, MS, Cheyney State College creative experience of others. Recent provided with the necessary competencies PhD, Pennsylvania State University national as well as statewide attention to in teaching Discipline Based Art Education education and to the role of the arts in and the state and national standards Diane Foxman education makes this an especially good through special studies in education Senior Lecturer time for students to consider becoming combined with liberal arts coursework in BA, Antioch College an art teacher and artist. In preparing art history, aesthetics, criticism, social MA, Goddard College students for careers in art education, the sciences, plus psychology, and studies in University is committed to the ideal studio production. Arlene Gostin of exemplary teachers who are also able The Pre-Certification Concentration may Associate Professor to produce their own competent works. be taken in its entirety or in part to fit BA, University of Delaware To that end, the University offers a flexible individual plans and needs. Students who MA, Philadelphia College of Art program of competency-based education satisfactorily complete the program will be at the undergraduate level to prepare able to enroll directly in the Post-Baccalau- Janis Norman students to complete a professional reate Teacher Program, in which they can Professor certification program after graduation or complete the student-teaching require- BAE, University of Kansas within a four-year undergraduate program ment, (AE 659, AE 552), and the PRAXIS MA, University of Missouri, Kansas City plus an additional post-baccalaureate National Teachers Exam, and qualify for the PhD, University of Kansas professional semester. Pennsylvania Instructional I Certificate to The Pre-Certification concentration is teach Art K-12 in as little as one regular Susan Rodriguez designed to be taken in conjunction with a semester beyond the bachelor‘s degree. Adjunct Professor regular studio major in the BFA program. Another viable alternative is that qualified BFA, MEd, Tyler School of Art, Temple In addition to meeting the requirements of graduates may enter the Master of Arts in University a major studio department, students Teaching program in which it is possible to enrolled in the pre-certification concentra- earn a Masters degree and certification in as Kenneth Sakatani tion take courses in the Art Education little as three semesters or two semesters Associate Professor Department, plus prescribed courses in and two summers. BFE, University of Southern California, liberal arts, photography, electronic media, Los Angles and other studio areas which help fulfill the MA, San Francisco State University general Liberal Arts and studio electives Academic Regulations PhD, Stanford University requirements. Careful advising is essential. Students working toward certification Students enrolled in the Pre-Certification are required to maintain a 3.0 cumulative Barbara Suplee Concentration in Art Education must take average in certification coursework. Assistant Professor and pass the Professional Writing Intensive Admission to the Student Teaching BFA, West Chester University course in the first semester of their senior Practicum is by permission of the depart- MEd, Tyler School of Art, Temple year, prior to student teaching in the Post- ment, based on satisfactory completion University Baccalaureate Student Teacher Program. A of all prerequisites, on evidence of promise PhD, Pennsylvania State University score of 90% or higher is passing. Students as a teacher demonstrated in prior with scores of 80-89% will be required to coursework, and on good academic obtain remedial tutoring, at their own standing. A grade of “B” or better in the expense, and they must take and pass the Student Teaching Practicum is required for recommendation for certification.

74 Recommended Schedule of Required Studio Electives Post-Baccalaureate Teacher Courses for Pre-Certification in Pre-Certification students should complete Program Art Education at least three credits in a two-dimensional The Post-Baccalaureate Teacher Program media if their major is in a three-dimen- is an intensive one-semester experience Freshman sional area, and vice versa. Other studio built around a twelve-week student Standard Foundation and work must include at least one course each teaching practicum, in which the student Liberal Arts Program in photography and computer graphics. devotes six weeks to teaching at the *HU 140 A/B Survey of Visual Art 6.0 elementary school level and six weeks to Recommended Electives teaching at the middle or secondary school Sophomore in Art Education level under the guidance and supervision of First Semester or Second Semester AE 531 Multicultural Learning 3.0 highly qualified master teachers and Art AE 200 Presentation Skills 1.0 AE 532 Design for Interdisciplinary Education Department faculty. AE 201 Intro. to Visual Arts Learning 3.0 The Pre-Certification Concentration, Education 2.0 AE 632 Applications of when coupled with the Post-Baccalaureate *HU 162 Individual and Society 3.0 Interdisciplinary Learning 3.0 Teacher Program, is accredited by the *HU 270 Introduction to Aesthetics 3.0 Pennsylvania Department of Education as *HU 181 Child and Adolescent an approved program to prepare students to Psychology 3.0 receive the Instructional I Certificate to teach Art K-12. *HU 357 Modern Art (preferred choice) 3.0 Since June, 1987, all applicants for or Discipline Art History 3.0 certification in Pennsylvania must also pass the Core Battery and Art Specialty Junior Test of the PRAXIS Series, Professional First Semester or Second Semester Assessments for Beginning Teachers, of AE 547 Program Design/Methods the National Teachers Exam, to qualify in Elementary School 3.0 for the certificate. *HU 363 Modern Culture 3.0 Supplementary courses and activities or complete the preparation of the future *HU 462 American Social Values 3.0 teacher to enter the profession. The Post- Baccalaureate Teacher Program is available *HU 388 Perception 3.0 or to students only after major requirements a natural science course 3.0 have been met and after graduating with a bachelor’s degree. *HU 323 Arts Criticism 3.0 Post-Baccalaureate Teacher Program AE 552 The Art of Teaching 3.0 Senior AE 659 Student Teaching First or Second Semester Practicum 9.0 AE 599 Professional Writing Intensive 0.0 AE 533 Art and Inclusionary Education 3.0 AE 559 Saturday Practicum 3.0 AE 548 Program Design/Methods in Middle/Secondary School 3.0

Post-Baccalaureate Teacher Program AE 552 The Art of Teaching 3.0 AE 659 Student Teaching Practicum 9.0

* These courses also count toward the Liberal Arts’ Core of the Bachelor’s degree. ** Photography and Computer competency is required for certification with a minimum requirement of one course in each area.

75 Students who do not wish to pursue the Art Therapy Faculty Art Therapy professional degree will nonetheless find that their study of art therapy is beneficial Karen Clark-Schock Karen Clark-Schock in other fields, particularly in education, Adjunct Assistant Professor Director and in their own personal development. BA, Rosemont College 215-717-6054 While enrolled in one of the BFA MCAT, Hahnemann University programs of the College, students can also PsyD, Immaculata College Concentration in Art Therapy elect a concentration in Art Therapy, which introduces them to the discipline on the Art therapy, a well-respected discipline Nancy Gerber undergraduate level. within the human services profession, offers Lecturer Students who elect the Art Therapy an exciting career alternative for the studio BS, Pennsylvania State University program take four designated courses in art major. It utilizes art as a nonverbal MS, Hahnemann University psychology and behavioral science, which means of communication and self-expres- can also count toward the Liberal Arts sion, and thereby provides a creative vehicle Ronald Hays requirements of their BFA program, and with which to explore personal problems as Senior Lecturer fifteen credits of art therapy courses, which well as personal strengths and potentials. MS, Hahnemann University are considered as studio electives in Art therapists work with children and fulfilling the BFA program requirements. adults of all ages in a variety of settings. At graduation, Art Therapy Concentration These include psychiatric and medical Art Therapy students receive a certificate of completion hospitals, schools, clinics, community Credit Requirements in Art Therapy along with the BFA degree. centers, nursing homes, drug and alcohol treatment clinics. As members of a team, Sophomore Credits art therapists may work with physicians, Medical College of HU 181 A Child and Adolescent psychiatrists, psychologists, social workers Pennsylvania Hahnemann Psychology 3.0 and educators. The art therapist uses University Articulation HU 181 B Adult Psychology 3.0 artwork for both diagnosis and treatment. Agreement Art therapy can also be utilized as a means For students interested in applying to Junior of promoting creativity and wellness, and the Medical College of Pennsylvania HU 384 Abnormal Psychology 3.0 can therefore be viewed as a force in the (M.C.P.) Hahnemann University, an AT 300 Intro. to Art Therapy 3.0 prevention of illness. articulation agreement with M.C.P. gives a AT 301 Social and Group Process 3.0 The concentration in art therapy at The limited number of qualified students early AT 302 Theories & Tech. Art University of the Arts gives students a acceptance to their Master’s Degree Therapy 3.0 chance to explore a career option while Program in Art Therapy. engaged in undergraduate study. This The final decision to offer early accep- Senior preparation is invaluable when considering tance of students into the program shall be AT 303 Clinical Aspects of Art graduate school. made by the Director of the Art Therapy Therapy 3.0 Graduate Education Program in conjunc- AT 401 Senior Practicum 3.0 tion with the M.C.P. Committee on HU 483 Theories of Personality 3.0 Admissions and Standards. Total 27.0

76 PCAD

The University of the Arts

Graduate Programs

77 Leave of Absence Graduate Programs A graduate student may take a leave of absence prior to the completion of all course work and with the program director’s Carol Moore approval. Students may take a maximum of two one-semester Graduate Coordinator leaves of absence throughout their course of study, either in 215-717-6106 sequence or as needed. Once the thesis has begun, and all course work has been completed, students must register and pay for the Graduate study in the College of Art and Design provides thesis continuation fee for successive semesters and are not eligible intensive professional preparation in a stimulating multi-arts for a leave of absence. environment. A select range of specialized graduate degrees in Fine Arts, Design, and Visual Arts Education features focused curricula, small classes, dedicated faculty, and access to outstanding Thesis Grading facilities and resources. The grade of “IP” (“In Progress”) signifies that the student is All programs address interarts and/or interdisciplinary issues making satisfactory progress toward completing the graduate through both studio activity and the University Seminars: thesis. This grade will apply only to graduate thesis courses where “Structure and Metaphor,” and “Art and Society,” which brings the student’s thesis is still in progress. students together from all graduate programs at the College of Art This grade is available only for the following courses: and Design. Additionally, all MFA students take the University AE 649 Graduate Project/Thesis Seminar: “Criticism.” ME 749 A/B Thesis Development A University of the Arts education extends beyond the MU 603 Graduate Project/Recital classroom and studio. Through partnerships, workshops, ID 741 Masters Thesis Project (MID-pre-1997) residencies, internships, and symposia, students engage the larger FA 795 Thesis Exhibition art, design, and education communities and interact with some of today’s most important artists, designers and educators in a An “IP” grade acknowledges the fact that the final course broad range of disciplines. product (thesis) may require some period of time past the semester The College of Art and Design offers these graduate programs: of registration to complete. The “IP” grade will remain on the Master of Fine Arts degrees in Book Arts/Printmaking, Museum student record until a final thesis grade is submitted by the Exhibition Planning and Design; low residency summer Master of instructor. In some cases, a student will be registered for thesis Fine Arts degrees in Ceramics, Painting, and Sculpture; Master of courses as a sequence (i.e., ME 749 A/B). When the final grade is Industrial Design; Master of Art in Art Education; Master of Art submitted by the instructor, it will replace the “IP” grade. The in Museum Education; Master of Arts in Teaching in Visual Arts. “IP” grade is not computed in the grade point average. In order to remain in good standing while the thesis is “in progress,” the student must register for the thesis continuation fee Student Classification for each semester he or she is not enrolled in course work. and Course Load Graduate students must be enrolled for at least nine credits to be considered full-time. Tuition for part-time graduate students is charged on a per credit basis. Graduate student class status is determined as follows: G1 up to 17.5 credits G2 18 credits or more

Graduate Thesis Continuation Fee A student who has completed all the course requirements for the Masters degree and is currently working on the graduate thesis, either on or off-campus, must register and pay a graduate thesis continuation fee per semester until the thesis is completed and accepted. This registration, through the Office of the Registrar, is required in each succeeding semester, excluding the summer sessions, until all degree requirements are met. Students completing a degree in the summer must pay the thesis fee in the final summer semester.

78 Graduate Double Degree Policies Summer Graduate Electives Policy Graduate students already enrolled in a masters degree program Students wishing to complete studio or liberal arts electives at the University of the Arts may apply to simultaneously pursue a during university summer sessions may review pre-approved second masters degree. A second degree may be added only after summer course offerings in the spring with their program advisor the successful completion of at least one semester of graduate study, and may register for theses courses only after obtaining approval with a grade point average of at least 3.0. Students who are and the signature of the PCAD Graduate Coordinator. A maxi- interested in this option must be aware that completion of two mum of six credits is transferrable to the graduate curriculum. degrees will likely require additional time to complete and requires intensive advising and coordination of requirements. Students currently enrolled in a masters degree, who wish to Degree Candidacy and Completion pursue a second masters degree must request, in writing, that the Midway through their respective programs, graduate students’ Registrar forward a copy of their transcript and official file to the progress in their discipline and proposal for thesis will be reviewed director of the program to which they are seeking admission. The by the appropriate Graduate Committee to formally determine director of the second program may require the student to submit whether a student becomes a degree “candidate,” and is ready to materials for portfolio review, and may require additional letters of continue toward development and completion of the thesis or reference. The director of each graduate program is responsible for graduate project. coordinating any required portfolio review. Portfolio requirements Graduate students have up to seven years from matriculation are listed on the Graduate Application or may be obtained directly date to complete a two-year master program, and up to six years, from the graduate director or coordinator. Final acceptance into a from matriculation date, to complete a one-year program. double degree program must be approved by the Director of Graduate Programs. 1. A student may be awarded a particular degree from the University only once; i.e., once the student has earned an MA, he Credit Duplication or she may not be awarded another MA. No course, including graduate courses, which have satisfied 2. A student may not receive two different Masters degrees undergraduate degree requirements, may be counted again for from the same program; i.e., cannot pursue both the MA in Art graduate credit. Education and MAT in Visual Arts. 3. A student may be awarded two different degrees from UArts; i.e., a student who has been awarded or is pursuing an Transfer Credit MA may matriculate in an MAT, MFA, or MID program A maximum of six credits of graduate credit may be transferred (except as noted above). and applied toward the graduate degree requirements, upon 4. A student may earn up to two Masters degrees, either approval of the program director. All transfer credits must be simultaneously or sequentially. graduate level classes or upper level classes taken for graduate credit 5. A student may apply up to six credits from one Masters at an accredited college or university, approved by the Registrar degree toward requirements for the second degree. If a student is and the Graduate Director, and must be a “B” or higher grade. approved for a double degree, and six credits are shared between the two programs, the student may transfer a maximum of six additional credits from an accredited institution. 6. A student who has completed one degree and wishes to matriculate in another does so by applying to the new program through the Office of Admission. 7. Students in the Summer MFA program who wish to pursue a second graduate degree will be charged the regular graduate tuition rate in the semesters in which they are pursuing two degrees.

Probation and Dismissal Policies A cumulative GPA of 3.0 is required for good standing and for graduation for graduate students. If a student is unable to achieve a semester or cumulative GPA of 3.0, he or she will be placed on probation. If a 3.0 GPA and/or other conditions are not attained by the following semester, the student will be dismissed from the program. While on probation, a student will be ineligible to hold a graduate assistantship or to receive a University supplemental grant-in-aid or scholarship.

79 Specialized Facilities The program also utilizes the Typogra- Master of Fine In addition to studios for stone and plate phy Lab, adjacent to the Printmaking lithography, intaglio and relief printing, facilities, which houses a darkroom facility Arts in Book Arts/ waterbased screenprinting, and non-silver equipped with enlargers, one horizontal and photography, the Printmaking Department three vertical copy cameras, and a Linotype Printmaking contains a bookbinding room with L100 Macintosh computer typesetting stationary vertical and portable book system that is integrated with the Patricia M. Smith presses, a tabletop and floor board shear, University’s Macintosh Labs. Director and a guillotine paper cutter. The Another important resource is the 215-717-6490 letterpress studio is equipped with 4 Borowsky Center for Publication Arts, Vandercook proof presses, a photopolymer equipped with a Heidelberg KORS offset The Master of Fine Arts Degree in Book platemaking system, and over 150 fonts of press and a full darkroom for experimental Arts/Printmaking is built upon the foundry type and monotype in varied style and production printing. Separate graduate University’s forty-year tradition of and size. The offset lithography pressroom studio space for Book Arts students involvement with the book and printed holds an ATF-Davidson offset press for provides work stations, light tables, image. Open to all qualified students with hands-on experience. portable book presses, and a paper cutter. an undergraduate degree in Liberal Arts, The core program of letterpress, offset Design, Photography, Printmaking or Fine lithography and bookbinding courses is Arts, the program emphasizes the artist’s augmented by investigations into related demands upon the book as an art form. fields of study in studio-arts and liberal The course of study, based upon each arts. An approach that is experimental, student’s interest and level of experience, interdisciplinary, and reflective of a broad allows for the advancement of conceptual range of personal and professional involve- abilities while developing technical ment is encouraged. A qualifying review at proficiencies in both traditional and state- the conclusion of the first year’s coursework of-the-art processes. Investigation of is required to continue in the program. related fields of study in studio arts and The second year extends a concentration in liberal arts encourages an approach that is coursework towards the MFA Thesis experimental, interdisciplinary and Exhibition under the supervision of a reflective of a broad range of personal and selected MFA Advisory Committee. professional involvement. The sixty-credit, two-year program is offered within the Printmaking Depart- MFA in Book Arts/Printmaking Credit Requirements ment and draws upon the expertise of a faculty of professional artists and a full Year One Fall Spring complement of technical facilities. Visiting PR 600 A/B Book Arts Colloquium 1.5 1.5 artists, field trips, and guest lecturers PR 610 A/B 01 Book Arts Studio 3.0 3.0 supplement the studio experience. Access PR 610 A/B 02 Book Arts Studio 4.5 3.0 to Philadelphia’s rich heritage of public and PR 623 A/B Bookbinding 1.5 1.5 private collections furnishes a unique PR 626 Offset Lithography 1.5 — opportunity to study rare and contemporary GR 692 University Seminar: Art & Society — 3.0 manuscripts, prints and books. Internships Liberal Arts or Studio Electives 3.0 3.0 in professional book and print-related 15 15 organizations and libraries are available for qualified students. Year Two Fall Spring PR 700 A/B Book Arts Colloquium 1.5 1.5 PR 710 A/B 01 MFA Thesis Studio 3.0 3.0 PR 710 A/B 02 MFA Thesis Studio 3.0 3.0 PR 723 A/B Bookbinding 1.5 1.5 GR 691 University Seminar: Structure and Metaphor 3.0 — GR 791 University Seminar: Criticism — 3.0 Liberal Arts or Studio Electives 3.0 3.0 15 15

Total Credits 60

80 MFA in Book Arts/Printmaking Robin Rice Faculty Senior Lecturer BFA, Ohio Wesleyan University James Green MA, University of Missouri Senior Lecturer BFA, Oberlin College Patricia M. Smith MPh, Yale University Assistant Professor MLS, Columbia University BA, Immaculata College MA, Philadelphia College of Art Lois M. Johnson Yoshida Hanga Academy, Tokyo Professor BSEd, University of North Dakota Lori Hamilton-Spencer MFA, University of Wisconsin-Madison Senior Lecturer BFA, State University of New York, Nathan Knobler Purchase Professor MFA, The University of the Arts BFA, Syracuse University MFA, Florida State University Susan T. Viguers Professor Peter Kruty BA, Bryn Mawr College Senior Lecturer MA, University of North Carolina at BA, University of Chicago Chapel Hill MLS, MA, University of Alabama PhD, Bryn Mawr College

Hedi Kyle Adjunct Associate Professor Diploma, Werk-Kunstschule, Wiesbaden, Germany

Larry Mitnick Associate Professor BArch, Cooper Union MArch, Harvard University

Carol Moore Assistant Professor BFA, MFA, Tyler School of Art, Temple University

Mary Phelan Associate Professor BS, College of Saint Rose MA, University of Wisconsin-Madison

81 The MID Program as part of the Master of Industrial Design Master of Industrial Design Department, offers Faculty learning experiences balanced between Industrial Design theory and practice, seminar and practicum, Thomas S. Bley academe and reality, ecological and Professor Thomas S. Bley economical, and humanistic and techno- Diploma, Hamburg Academy of Fine Art, Director logical concerns. Design and Architecture, Germany 215-717-6253 Students can expect to explore important MID, Pratt Institute and challenging issues, technologies and This unique, two-year, 60-credit Master techniques at the forefront of humanistic Charles Burnette of Industrial Design degree focuses on the design today with expert faculty and Professor new role of the profession of industrial industry sponsors. They may have the BArch, MArch, PhD, University design in a post-industrial society. option to complete part of their program of of Pennsylvania With respect to the international student study abroad, if it is appropriate to their body, the diversity within the design study goals to do so. Anthony Guido profession and the wide range of global During the fall terms (semesters 1 and 3) Associate Professor issues in design, this program focuses on of the two-year program the focus is on BSID, The Ohio State University the individual profile of its graduates. It inter- and multidisciplinary team-oriented offers a wide platform of knowledge and projects, while during the spring terms Jamer Hunt expertise in areas of significance to the (semesters 2 and 4) the focus shifts to an Visiting Assistant Professor future of design development, design emphasis on individual exploration and the BA, Brown University research and design education. development of student based career PhD, Rice University Current changes and future trends objectives. continue to shift our understanding of Candidates must have a bachelor’s (or Nathan Knobler where and how design can make a differ- equivalent foreign degree) in a design, Professor ence and requires the continuous reconsid- engineering or scientific discipline and be BFA, Syracuse University eration of the designer’s role, capabilities qualified to undertake independent, tutored MFA, Florida State University and education. study. At least one year of professional • Future designers will humanize experience is recommended. Foreign Jonas Milder technologies and invest them with cultural applicants must be proficient in English. Assistant Professor values. Qualified candidates with significant, well BID, Fachhochschule fuer Gestaltung • They will belong to or lead conceived study objectives are preferred and MID, Hochschule der Kuenste multidisciplanary teams working in highly applicants with programs sponsored by commercial and competitive business government or industry are welcome. Larry Mitnick environments. Each candidate is carefully selected to Associate Professor • They will operate at a national and assure a comprehensive balance of disci- BArch, Cooper Union international level creating and developing plines in the program. Within this MArch, Harvard University products, systems and services for diverse collaborative framework, each candidate is cultures. tutored in the knowledge, software and Carol Moore • They will be flexible integrators in the systems appropriate to their needs. Assistant Professor development of processes and a major In addition to a University Grant BFA, MFA, Tyler School of Art, source of creative guidance and inspiration covering part of tuition and fees, the Temple University to other professions. program supports individually tailored • They will be effective in dealing with thesis study in the second year via funding Pavel Ruzicka the concepts and implications of many for consultants, tutors, conferences, Human Factors Lab Manager different technologies as they affect both visitations and materials. MME, University of Engineering, users and the environment. Czech Republic • They will understand and play a MID, The University of the Arts significant role in managing design development processes; recognizing and acting upon issues of social and environ- mental responsibility. • They will understand and communi- cate the psychological, semantic, behav- ioral, interactive and cultural significance of their design strategies.

82 Specialized Facilities The graduate design studio is equipped with Macintosh computers and adjoins an advanced computing lab equipped with Silicon Graphics, Windows NT, and Macintosh computers.

MID Credit Requirements

Year One Fall Spring ID 600 ID Seminar: Thesis Research — 3 ID 601 Advanced Design Studio 6 — ID 625 Advanced Computing Applications 3 — ID 627 Human Factors: Interactivity — 3 ID 710 Advanced Project Tutorial I — 6 GR 691 University Seminar: Structure and Metaphor 3 — GR 692 University Seminar: Art and Society — 3 Electives 3 — 15 15

Year Two Fall Spring ID 602 Advanced Design Studio 6 — ID 622 Product Evaluation 3 — ID 700 ID Seminar — 3 ID 711 Advanced Project Tutorial II — 6 ID 749 Masters Thesis Documentation — 6 Electives 6 — 15 15

Total Credits 60

In addition to required courses, students take elective courses that enable them to pursue their specific interest, as well as overcome deficiencies in their design preparation. In certain cases, particularly for applicants from non-design undergraduate programs, it is necessary to complete specific courses in industrial design. These courses are selected from appropriate undergraduate courses.

83 Students undertake a thesis project and a necessary background in design. Students Master of Fine supervised museum internship related to from non-design, non-art backgrounds, are their career interests during the second year also encouraged to apply. Arts in Museum of the program. To preserve the intimate The first year provides a basic under- contact with museum professionals and to standing of the exhibition process, with Exhibition guarantee participants studio facilities, the the first semester focused on conceptual program is limited to nine entrants per year. development, planning, systems, and Planning and Most candidates for this program will intellectual analysis of problems, and the Design have previously completed a baccalaureate second on the practical implementation of degree in industrial, graphic, interior, or concepts and on understanding materials architectural design and demonstrate an and methods of exhibition design and Jane Bedno acceptable level of professional accomplish- production. The second year is dedicated Director ment through a portfolio or another to practice of skills learned during the 215-717-6327 appropriate means. Alternatively, they may first year, and practical exposure to actual seek admission with a baccalaureate in a exhibition development practice in museums Recognized formally by the American discipline related to a particular career and museum consultancies. Activities Association of Museums since 1981, the direction, and take courses to develop the during the final semester are focused on field of exhibition planning and design has thesis development and completion. become a demanding, fast-growing profession as museums respond to the demand for exhibitions addressed to public MFA in Museum Exhibition Planning and Design needs and interests. With the cooperation Credit Requirements of a group of major regional museums, following the guidelines established by Year One Fall Spring N.A.M.E. (National Association for ME 500 / 501 The Museum Course/History of Museum 3 3 Museum Exhibition), The University of ME 610 A/B Museum Exhibition Design Studio 6 6 the Arts offers a two-year, 60-credit Master ME 620 Environmental Graphics 3 — of Fine Arts degree which prepares ME 623 Exhibition Materials and Technology — 3 students for professional careers in the GR 692 University Seminar: Art and Society — 3 planning and design of exhibits for Elective 3 — museums and other interpretive centers, focusing on methods of presentation for 15 15 collections and information, while exploring the full range of exhibition Year Two Summer Fall Spring communication and methodology. ME 759 Museum Internship* 3 — — Representatives of cooperating museums ME 710 Museum Exhibition Design Studio — 6 — and the University faculty offer a curricu- ME 508 The Museum Audience — 3 — lum that addresses the conceptualization, ME 622 Media for Museum Communication — — 3 research, organization, design, and ME 749 A/B Thesis Development — 3 3 production of museum exhibits and GR 691 University Seminar: Structure and Metaphor — 3 — educational presentations, utilizing a GR 791 University Seminar: Criticism — — 3 variety of techniques and media. It also Elective — — 3 explores exhibit programming, evaluation 31512 and management methods applicable in a wide range of museum situations. Total Credits 60 Visiting experts teach many aspects of museum presentation, education and management, and students make formal * Students with at least six months of direct visits to design departments, production exhibition-related experience in a museum, shops, galleries, exhibits and programs equivalent institution, or a museum in numerous museums, service providers consultancy may substitute one three-hour and consultancies in Philadelphia, elective for the internship requirement. the Mid-Atlantic Region, Washington, and New York.

84 Specialized Facilities Alice Dommert The Graduate studios in Museum Senior Lecturer Exhibition Planning and Design feature BArch, Louisiana State University direct student access to a computer-aided MFA, The University of the Arts design center. The Computer-Aided Design/Computer-Aided Manufacturing Anne El-Omami (CAD/CAM) facility and the academic Associate Professor computing laboratories are completely BFA, BA, University of Nebraska, Lincoln equipped computer centers dedicated to MA, University of Nebraska drafting, rendering, model making, desktop publishing, computer-aided graphic design, Nathan Knobler multimedia, and illustration. Professor Students get experience in installation BFA, Syracuse University skills in the university galleries. MFA, Florida State University The program is also supported by extensive metal, wood, and plastics shops. Larry Mitnick Associate Professor BArch, Cooper Union MFA in Museum Exhibition MArch, Harvard University Planning and Design Faculty Carol Moore Ed Bedno Assistant Professor Adjunct Professor BFA, MFA, Tyler School of Art, BFA, Art Institute of Chicago Temple University MS/GD, Institute of Design, Illinois Institute of Technology Tom Porett Professor Jane Bedno BS, University of Wisconsin Professor MS, Institute of Design, Illinois BA, Roosevelt University Institute of Technology JD, College of William and Mary Robin Rice Elizabeth Bogle Senior Lecturer Adjunct Associate Professor BFA, Ohio Wesleyan University BS, Philadelphia College of Art MA, University of Missouri

Allegra Burnette David Wolfe Senior Lecturer Senior Lecturer BA, Dartmouth College BS, Philadelphia College of Art MFA, The University of the Arts

85 Full-time students may complete the Larry Mitnick Master of Arts in MA program in one academic year plus a Associate Professor summer or three semesters. Part-time BArch, Cooper Union Art Education students may take coursework over as many MArch, Harvard University as five years. Depending on the needs of Janis Norman the individual student, professional Janis Norman Director education courses and selected studio and Professor 215-717-6050 liberal arts courses may be taken in the BAE, University of Kansas evenings and summers. MA, University of Missouri, Kansas City The Master of Arts in Art Education PhD, University of Kansas program at The University of the Arts is designed to develop the studio, intellectual, MA in Art Education Faculty Susan Rodriguez and professional education background of Adjunct Professor art educators, enabling them to meet Karen Clark-Schock BFA, MEd, Tyler School of Art, Temple advanced professional goals. Adjunct Assistant Professor University Coordinating professional education BA, Rosemont College courses with work in liberal arts, graduate MCAT, Hahnemann University Kenneth Sakatani research and a concentration in studio, the PsyD, Immaculata College Associate Professor MA in Art Education Program offers BFA, University of Southern California, custom-designed programs of study to meet Anne El-Omami Los Angeles individual needs. A series of graduate Associate Professor MA, San Francisco State University education seminars address historical and BFA, BA, University of Nebraska, Lincoln PhD, Stanford University contemporary issues in art theory, criticism, MA, University of Nebraska and education. Drawing on the wide range Barbara Suplee of studio departments, nearly half of the Arlene Gostin Assistant Professor program is reserved for work in one or more Associate Professor BFA, West Chester University studio area, museum studies or liberal arts BA, University of Delaware MEd, Temple University depending upon the student’s particular back- MA, Philadelphia College of Art PhD, Pennsylvania State University ground and career needs. The independent thesis or graduate project, which is normally Nathan Knobler completed in two semesters, may take the Professor form of either an academic research paper or BFA, Syracuse University a graduate project in an appropriate format. MFA, Florida State University Designed for established or new teachers, the degree may satisfy credit accrual require- ments for Permanent Certification or lead to other career advancement. Graduates have MA in Art Education Credit Requirements also found the program relevant to positions in museum education, college (especially Scheduling option for full time enrollment: Summer Fall Spring junior college) teaching, arts administration, AE 599* Professional Writing Intensive — 0 0 educational media, and other related fields. AE 606 Research in Education — 3 — Applicants must hold a Bachelor’s degree or GR 691 University Seminar: Structure and Metaphor — 3 — equivalent with no less than 40 credits in AE 610 Graduate Studio Seminar — 3 — studio work with a “B” or better cumula- AE 602 History of Ideas in Art and Museum Education — — 3 tive average. A teaching certificate is not AE 649** Graduate Project/Thesis — — 6 required. Students not holding degrees in GR 692 University Seminar: Art and Society — — 3 the visual arts can expect to complete 18 Studio Museum Studies or Liberal Arts Concentration 3 7.5 1.5 credits of foundation studies and/or up to Liberal Arts Elective 3 — — 40 credits of studio work, depending upon faculty review of their portfolio. 6 16.5 13.5 The degree may also be taken in conjunction with the Certification Program Total Credits 36 in Art Education thereby allowing the student to earn a Masters degree plus Certification. The difference between this *AE599 must be taken and passed in the first semester of enrollment. Students may test combination and the MAT, Masters of Arts out of the Professional Writing Intensive course by taking and passing the department in Teaching, is the concentration in Writing Proficiency Exam. (See course description for additional information.) graduate studio work and the research and thesis required for the MA degree. **AE 649 Graduate Project/Thesis may be taken as a 6 credit block or in two 3 credit blocks.

86 methodology embrace the inclusion of art The Museum Studies core may be taken Master of Arts history, criticism, and aesthetics as critical separately or in conjunction with another components of the arts education curricu- Master’s Program at The University of the in Museum lum, all areas heavily dependent upon Arts. The core includes courses from the museums for exemplary resources and museum studies core and may also include Education reference. The MA in Museum Education the Graduate Museum Project and focuses on a wide variety of museums and Internship with special approval. This Anne El-Omami institutions with similar missions and series of courses may be combined with the Director operations and prepares educators to Master of Arts in Teaching in the Visual 215-717-6051 or 717-6050 function within the changing context of Arts or the Master of Arts in Art Educa- contemporary schools, museums and related tion. This option may be completed in The Master of Arts in Museum Educa- institutions. The MA in Museum Educa- three semesters and a summer, depending tion is a concentrated program focused on tion may be completed in two semesters upon fulfillment of the prerequisites and the development and implementation of and a summer or in three semesters. scheduling considerations. appropriate pedagogical practices and critical/interpretive skills for communi- cating to the public about culture and the MA in Museum Education Credit Requirements arts. Coursework comprises three distinct areas: a broad education core addressing Fall Spring Summer theory and methods, a concentration in Education Core Fall museum studies and practices, and a AE 606 Research in Education 3 — — professional core including research and an GR 691 University Seminar: Structure and Metaphor 3 — — internship with a cooperating museum. AE 550 Creative and Cognitive Development 3 — — Applicants should have had a core of at GR 692 University Seminar: Art and Society — 3 — least 40 credits in the arts, liberal arts, and/ or communications, with a minimum of 18 Museum Studies Core credits in art history (or 12 credits in art AE 510 Museum Education Practicum 3 — — history and 6 credits in anthropology or ME 508 The Museum Audience and Evaluative Techniques 3 — — communications). This degree is an ME 501 History of the Museum — 3 — appropriate option for those with a strong AE 530 Interactive Media — 3 — commitment to providing educational AE 615 Educational Programming for programming within a museum context or Museums & Alternative Sites — 3 — alternative site, as well as for teachers who wish a concentration in museum education Professional Core so they may utilize museum resources more AE 648 Graduate Museum Project — 3 — effectively in the classroom. AE 658 Museum Internship — — 6 Museums and galleries worldwide are 15 15 6 becoming more dependent upon their audiences for support. Consequently, the Total Credits 36 role of museums is changing to meet audience demands, including expectations for more relevant and accessible public Note: Additional elective courses may be educational programming to promote taken in either semester in Interactive Media, cultural knowledge and interests. This Multicultural Learning, Design for growing trend has created a greater demand Interdisciplinary Learning and/or History for well-trained professionals with special of Ideas in Art and Museum Education. knowledge and expertise in planning and implementing museum programs. Addi- tionally, current educational theory and

87 MA in Museum Education Janis Norman Faculty Professor BAE, University of Kansas Paul Adorno MA, University of Missouri Kansas City Adjunct Assistant Professor PhD, University of Kansas AB, Georgetown University MSEd, University of Pennsylvania Kenneth Sakatani Associate Professor Ed Bedno BFA, University of Southern California, Adjunct Professor Los Angeles BFA, Art Institute of Chicago MA, San Francisco State University MS/BD, Institute of Design, Illinois PhD, Stanford University Institute of Technology Portia Hamilton Sperr Jane Bedno Adjunct Associate Professor Professor Lead Faculty, Museum Education BA, Roosevelt University Diploma in Pedagogy, Assoc. Montessori JD, College of William and Mary International BA, Barnard College Anne El-Omami Associate Professor Barbara Suplee BFA, BA, University of Nebraska, Lincoln Assistant Professor MA, University of Nebraska BFA, West Chester University MEd, Temple University Nathan Knobler PhD, Pennsylvania State University Professor BFA, Syracuse University MFA, Florida State University

Larry Mitnick Associate Professor BArch, Cooper Union MArch, Harvard University

88 Applicants to the MAT Program should possess a BFA or BA degree in studio art Master of Arts with a minimum of forty (40) studio credits with a “B” or better cumulative average. They also must have satisfactorily completed the coursework and/or acquired competencies in Teaching in in fields relating to teacher certification described below. If any deficiencies exist, up to 12 corequisite credits may be completed concurrently with the degree and applied Visual Arts to elective requirements.

Janis Norman Corequisites: Director • 3 upper division credits in a 3-D studio area, if a 2-D studio major for bachelor degree 215-717-6050 • 3 upper division credits in a 2-D studio area, if a 3-D studio major for bachelor degree • Introduction to computers, preferably including graphic applications The Master of Arts in Teaching in Visual (required competency), minimum requirement of one course Arts is a professional degree program • Basic Photography (required competency), minimum requirement of one course incorporating preparation for the Pennsyl- • Art History, 12 credits, including at least one course in 20th Century Art vania Instructional I Certificate to teach Art • Introduction to Psychology or Child and Adolescent Psychology K-12, including a student teaching practi- • Sociology or Cultural Anthropology (may be satisfied by GR 692) cum. Additional coursework includes the • Aesthetics (may be satisfied by GR 691) history, theory, and practice of art education. • Art Criticism (may be satisfied by GR 691) Depending on the completeness of the • Speech or Acting (recommended; may be satisfied by AE 200 Presentation Skills) student’s background, the MAT Program provides a flexible mix of professional Electives which may be required to meet aesthetics and criticism competencies: education, advanced studio, and liberal arts GR 691 University Seminar: Structure and Metaphor 3 credits, Fall study in a 42-credit program which may be GR 692 University Seminar: Art and Society 3 credits, Spring completed in three full semesters or two semesters and two summers. Electives of particular interest: Although the program normally leads to AE 532 Design for Interdisciplinary Learning 3 credits, Spring certification upon receiving the degree, all AE 531 Multicultural Learning Through the Ages 3 credits, Fall or Summer candidates must, in addition, successfully AE 632 Applications of Interdisciplinary Learning 3 credits, Spring complete the National Teachers Exam, AE 200 Presentation Skills (1 credit undergraduate) PRAXIS Series, with satisfactory scores to AE 201 Introduction to Visual Arts Education (2 credits undergraduate) qualify for State certification. This unique degree program allows a student to obtain his/her certification requirements for MAT in Visual Arts Credit Requirements teaching while also earning a master’s degree recognized by potential employing Recommended scheduling option: Summer Fall Spring school districts and educational institu- AE 599* Professional Writing Intensive — 0 0 tions. In many cases this enables the MAT AE 550 Creative and Cognitive Development 3 or 3 or 3 recipient to qualify for a higher salary and AE 547 Program Design and Methods: Elementary 3 or 3 or 3 often preferred placement. AE 548 Program Design and Methods: Middle and Secondary — 3 or 3 AE 559 Saturday Practicum — 3 or 3 AE 606 Research in Education — 3 — AE 552 The Art of Teaching — 3 or 3 AE 602 History of Ideas in Art and Museum Education — — 3 AE 659 Student Teaching Practicum — 9 or 9 Studio, Education, or Liberal Arts Electives (University Seminar GR 691 and GR 692 may be required) — 9 or 9 AE 533 Art and Inclusionary Education — 3 or 3 Total Credits 42

*AE599 must be taken and passed in the first semester of enrollment. Students may test out of the Professional Writing Intensive course by taking and passing the department Writing Proficiency Exam. (See course description for additional information.)

Note: Courses to satisfy requirements for the MAT are offered at varying times, allowing graduate students’ programs to be customized to their needs.

89 MA in Teaching in Visual Arts Janis Norman Faculty Professor Extended Degree BAE, University of Kansas Paul Adorno MA, University of Missouri Kansas City Options Adjunct Assistant Professor PhD, University of Kansas AB, Georgetown University Master of Arts in Art MSEd, University of Pennsylvania Susan Rodriguez Adjunct Assistant Professor Education With Teacher Certification Anne El-Omami BFA, MEd, Tyler School of Art, Temple University Those who seek to become certified to Associate Professor teach art but prefer the graduate studio BFA, BA, University of Nebraska, Lincoln concentration and academic research Kenneth Sakatani MA, University of Nebraska orientation of the MA program to the MAT, Associate Professor may augment the MA program with the Diane Foxman BFA, University of Southern California, required pre-certification coursework, thus Senior Lecturer Los Angeles becoming eligible for certification as early BA, Antioch University MA, San Francisco State University as the completion of the second semester of MA, Goddard College PhD, Stanford University full-time study. This option normally requires a minimum of 63 credits, and leads Arlene Gostin Barbara Suplee to the single MA degree. Associate Professor Assistant Professor BA, University of Delaware BFA, West Chester University MA, Philadelphia College of Art MEd, Temple University Master of Arts in PhD, Pennsylvania State University Teaching in Visual Arts Nathan Knobler Augmented Program Professor For those who seek to become certified BFA, Syracuse University to teach art but do not have a sufficient MFA, Florida State University background to prepare for certification within the normal three semester frame- Larry Mitnick work of the MAT program, the 42-credit Associate Professor MAT degree may be augmented by BArch, Cooper Union coursework in the areas needed. The MArch, Harvard University principal difference between the augmented MAT degree and the MA with pre- certification concentration is that the latter involves completion of a graduate research project in addition to the student teaching experience. Pre-Certification Concentration in Art Education Post-Baccalaureate Non-Degree Concentration In addition to the MA and MAT degree programs, the Art Education Department offers a 27-credit post-baccalaureate pre- certification concentration leading to the Pennsylvania Instructional I Certificate (K-12). Students may pursue the pre- certification concentration independent of a degree. Those wishing to pursue this option should schedule an appointment with the Chairman of the Art Education Department. In order to qualify for the concentration, a candidate must hold a BFA or BA in Art, or the equivalent, with a minimum of 40 credits in studio and 12 credits in Art History with at least a “B” average. Registration for courses takes place in the Office of Continuing Studies. Courses taken under this option do not 90 count towards a UArts degree. Studios and Facilities MFA in Ceramics, Painting, or Master of Fine During residence at the University, Sculpture Faculty summer MFA students enjoy access to well- Arts in Ceramics, equipped studios and facilities that support AP. Gorny work undertaken in each discipline. These Adjunct Associate Professor Painting, or include: dedicated painting studios, three BFA, The State University of New York major gas kilns with 90, 40 and 30 cubic at Buffalo Sculpture foot capacity, numerous electric kilns, wood Institute dell’Arte, Siena, Italy and metal shops, carving studios, a forge MFA, Yale University School of Art and foundry. Students are expected to low residency program locate off-campus studio space for work Jeanne Jaffe Carol Moore undertaken during the fall and spring Associate Professor BFA, Tyler School of Art, Temple Director independent studio semesters. In addition, 215-717-6106 University students have access to the University’s MFA, New York State College of Ceramics extensive facilities that include the at Alfred University These studio-based Master of Fine Arts Greenfield Library, whose visual arts degree programs are intended to broaden collection ranks among the largest of the Alec Karros and advance the conceptual, critical, nation’s visual art schools; state-of-the-art Senior Lecturer historical, and practical knowledge needed academic computing laboratories; numer- BFA, The University of the Arts to sustain a contemporary studio. The ous galleries and performance spaces; and MFA, Rhode Island School of Design programs have been designed to meet the the more than 100 museums and cultural needs of artists holding BFA or BA degrees institutions that comprise the extended Carol Moore who are interested in pursuing an MFA in campus of the city of Phildadelphia. New Assistant Professor either Ceramics, Painting or Sculpture York and Washington, DC cultural BFA, MFA, Tyler School of Art, Temple within a time frame that accommodates resources are only hours away. University their employment or academic year Students will be challenged by the schedule. broadly diverse aesthetic and critical Eileen Neff Departing from the more traditional opinions of distinguished studio faculty Adjunct Associate Professor semester format, students enter this three and notable visiting artists and critics who BA, Temple University year program in summer and complete the are invited to participate in the program BFA, Philadelphia College of Art major portion of their work during four each summer. MFA, Tyler School of Art, Temple annual seven-week summer residencies of Recent visiting artists and critics University intensive, individually focused studio include: Siah Armajani, Barry Bartlett, Gerald Nichols experience. In addition to exploration in Paul Bloodgood, Tom Butter, William Professor the major, students pursue interdisciplinary Daley, Arthur Danto, Larry Day, Peter Diploma, Cleveland Institute of Art investigations in studio topics common to Gourfain, Janet Koplos, Howardena MFA, University of Pennsylvania each discipline and address contemporary Pindell, Elaine Reichek, Sandy Skoglund, critical issues and methodology in univer- Judith Stein, Stephen Tanis, Ursula Von Jeanne Nugent sity graduate seminars. Two independent Rydingsvard, Mary Ann Unger, Robert Senior Lecturer studios are completed per academic year. Storr, Heidi Fasnacht, Kathy Rose BFA, The University of the Arts Students attend annual on-campus winter and José Bedia. weekend critiques and present work Summer MFA candidates are expected Barry Parker completed during the Fall Independent to follow the curriculum as structured Professor Studio. Work completed during the Spring in order to complete the program within BAE, Eastern Michigan University Independent Studio is reviewed at the start four years and present a final thesis MFA, University of Massachusetts of each summer. A final thesis review and exhibition following the completion of exhibition is held following completion of the fourth summer. Robin Rice the fourth summer. Summer MFA students who matriculate Senior Lecturer prior to the summer, 1997, are subject to BFA, Ohio Wesleyan University MA, University of Missouri the course requirements in effect at the time of entry. Sid Sachs Senior Lecturer Vermont Studio Center BFA, Tyler School of Art, Temple Graduate Study Exchange University The University of the Arts has a special MFA, Rutgers University relationship with the Vermont Studio Center in Johnson, Vermont. A limited Frank Smigel number of Summer MFA candidates may Adjunct Assistant Professor apply to spend their third summer BA, University of Pittsburgh intensive at the Vermont Studio Center by MA, PhD, University of Delaware contacting the Director of the Summer MFA Programs. 91 MFA in Ceramics, Painting, or Sculpture Credit Requirements

Note: Prefixes (XX) for the major studio courses will reflect the student’s area of concentration: Ceramics (CR), Painting (PT), or Sculpture (SC).

Summer I, II, III, IV Credits XX 610, 611, 710, 711 Major Studio in Ceramics, Painting, or Sculpture 5 FA 610 Studio Topics 2 GR 691, 692, 791 University Seminar I: Structure and Metaphor * 3 10 x 4 40 Fall I, II FA 691, 693 Independent Studio I, II in Ceramics, Painting, or Sculpture 3 Winter Critique I, II 3x2 6 Spring I, II FA 692, 694 Independent Studio I, II in Ceramics, Painting, or Sculpture 3 Summer Critique I, II 3x2 6 Fall III FA 793 Thesis Preparation 3 Winter Critique III Spring III FA 794 Thesis Preparation 3 Summer Critique III Fall IV FA 795 Thesis Exhibition 2

Total Credits 60

* GR 692 Seminar II, Art and Design in Society, and GR 791 Seminar III, Criticism, are offered during Summer II and IV respectively. During Summer III, a 3 credit elective is required.

92 Philadelphia College of

The

University Performing Arts of the Arts

93 Major Areas of Study Philadelphia College All students are assigned to a faculty advisor. Lists are posted in each of the Schools’ offices during the first week of the academic of Performing Arts year. Appointments are made at the mutual convenience of the student and the faculty advisor. Stephen Jay, Dean Students should feel free to see their advisor at any time 215-717-6125 concerning problems they may encounter. The Philadelphia College of Performing Arts is comprised School of Dance of the Schools of Dance, Music, and Theater Arts. Its curricula Undergraduate Programs combine the performance emphasis of the traditional conservatory, Bachelor of Fine Arts (BFA) in Dance stressing individualized training, practice, and discipline, Bachelor of Fine Arts (BFA) in Dance Education with a liberal arts education. Certificate in Dance Founded in 1870 as the Philadelphia Musical Academy, and Dance Majors merged with the Philadelphia Conservatory of Music in 1962, the Ballet College has long been regarded as one of America’s foremost Jazz/Theater Dance professional schools of higher education. Many of its early Modern graduates and faculty were members and founders of the Galley Dance Education Philadelphia Orchestra when it was formed in 1900. The Academy of Music, home of the world-famous Philadelphia Orchestra, is School of Music adjacent to the historic Merriam Theater building, headquarters of Undergraduate Programs the Philadelphia College of Performing Arts. Bachelor of Music (BM) in Composition Jazz/Contemporary In 1976 the institution was renamed the Philadelphia College of Bachelor of Music (BM) in Instrumental Jazz/Contemporary the Performing Arts, thereby signaling its intention to expand its Bachelor of Music (BM) in Voice program to include all three of the performing arts disciplines– Diploma Program Music, Dance, and Theater. In 1977, the Philadelphia Dance Certificate Program Academy joined the College to become the School of Dance. Graduate Programs Founded in 1947, The Philadelphia Dance Academy was one of the Master of Arts in Teaching, Music Education foremost conservatories of dance in the nation and one of the first Master of Music, Jazz Studies three institutions in the country to grant a degree in dance. The Areas of Concentration School of Theater was initiated in 1983. Flute The Philadelphia College of Performing Arts thus became Clarinet Pennsylvania’s first and only independent college dedicated Saxophone exclusively to the performing arts, and one of the first of its kind in Woodwinds the United States. Its philosophy is founded on the principle that Trumpet there is a common bond among artists, whatever their discipline, Trombone and that artists must interact with each other for their inspiration Tuba and growth. Indeed, many of the College’s students have developed Guitar interdisciplinary careers which require familiarity with all the Electric and/or Upright Bass performing arts. The milieu of The University of the Arts adds an Violin extraordinary dimension to PCPA’s artistic training by bringing Percussion performing, visual, and media artists together in a single, profes- Drums sional, educational community. Piano Voice Composition School of Theater Arts Undergraduate Program Bachelor of Fine Arts (BFA) in Theater Arts Majors Acting Musical Theater Credit-Hour Ratio Please refer to the course descriptions for specific information.

94 Programs of Study The Curriculum The School of Bachelor of Fine Arts (BFA) in Dance The curriculum in the School of Dance Bachelor of Fine Arts in Dance Education has been carefully organized to allow the Dance (BFA Dance Ed) students to grow to their maximum Certificate in Dance – two-year program potential as dancers. It has been developed Susan B. Glazer Majors over the years by professionals who are Director Ballet experienced with the world of dance and Kevin Linehan Dance Education its demands. Assistant Director Jazz/Theater Dance Daily technique classes in ballet, 211 South Broad Street Modern Dance modern dance, and jazz dance are basic to 215-717-5110 all courses of study and are the heart of Bachelor of Fine Arts in Dance: the program. One year of tap is required. The School of Dance is dedicated to the Ballet, Modern, or Jazz/Theater Each student must be familiar with all training of young artists for careers as Dance major styles of dance in order to become professional performers, dance educators, The Bachelor of Fine Arts (BFA) degree as versatile as possible. Dance electives and choreographers, and provides an in Dance is a program designed for those offered every semester include African intensive exploration of dance in its students who wish to prepare for profes- dance, Spanish dance, Brazilian dance, physical, intellectual and creative aspects. sional careers in dance performance and/or Character, pointe, men’s class, The School provides an environment in choreography. The BFA in Dance program partnering, and yoga. which students may develop an individual is normally completed in four years of In addition to the rigorous study of artistic vision while being exposed to a full-time study with a total requirement technique, the dance curriculum includes variety of artistic roles. of 128 credits (130 credits for Dance a. creative subjects such as improvisa- Education). tion, eurythmics, and composition; b. academic dance subjects such as dance Facilities Bachelor of Fine Arts in Dance history, music, labanotation, anatomy/ The main studios of the School of Dance Education kinesiology, pedagogy; are located in the Terra Building at 211 The Bachelor of Fine Arts (BFA) in c. ensembles, repertory and other South Broad Street. These spacious, bright, Dance Education is a program designed performing courses; and well-lighted studios are fully equipped specifically for students whose primary d. free electives including voice, acting, with barres and mirrors, huge windows, intention is to enter the profession as a and visual arts courses. pianos, audio consoles, and ceiling fans. teacher of dance. Although there is Their floors are constructed with four-inch, currently no Pennsylvania State certification state-of-the-art suspension for the safest and for dance teachers, this program includes Declaration of Major most comfortable dancing surface available. supervised class teaching in schools and/or In March of the sophomore year, the Lockers, dressing rooms, showers, and private dance studios. The BFA in Dance student must take an upper divisional lounges are found adjacent to the studios. Education is designed as a four-year exam, at which time the student will be The University has completely restored its program of full-time study with a total evaluated with respect to his or her historic Merriam Theater, which serves as requirement of 130 credits. requested major. The student is evaluated the institution’s major performance hall for for future success and, if appropriate, students, as well as “home” to a number of Certificate in Dance invited to continue the program for the regional performing arts organizations, The Certificate in Dance is a two-year, junior and senior years. The student must including the Pennsylvania Ballet. The 55-credit program intended for those complete a Declaration of Major form, UArts Dance Theater, a 200-seat theater, is students who wish to concentrate exclu- obtain approval for the major from the used for student performances. The Albert sively on dance studies. This intensive School of Dance, and submit the completed M. Greenfield Library contains books, program is designed to develop the form to the Office of the Registrar. journals, and videotapes devoted to dance, student’s familiarity with and proficiency in which are available to students for research a broad spectrum of dance styles. The and coursework. Certificate in Dance is awarded in recogni- tion of achievement, and does not consti- tute an academic degree. Students wishing to transfer from this program to the Bachelor’s degree program may apply to do so and will be required to obtain the approval of both the Director of the School of Dance and the Director of Liberal Arts. The Certificate in Dance is awarded only to students who are in residence and are matriculated in the Certificate program.

95 School of Dance Faculty Dance Studies Dance Core Curriculum Peter Bertini, Associate Professor Ballet Matthew Cox, Adjunct Associate Professor The Core Curriculum is common to all Kip Martin, Lecturer Annette DiMedio, Associate Professor Bachelor of Fine Arts programs in the Andrew Pap, Associate Professor Manfred Fischbeck, School of Dance for the first two years. Jon Sherman, Adjunct Assistant Professor Adjunct Associate Professor These required courses develop a solid Carol Luppescu Sklaroff, foundation from which students pursue Susan B. Glazer, Director their specific areas of interest. Adjunct Associate Professor Terry Greenland, Senior Lecturer Suzanne Slenn, Adjunct Associate Professor Nancy Kantra, Assistant Professor Freshman Year Semester Barbara Weisberger, Neil Kutner, Adjunct Associate Professor 1st 2nd Visiting Distinguished Guest Artist Pearl B. Schaeffer, DA 100 Rhythm for Dancers 1 - Adjunct Associate Professor DA 101 A/B Ballet I-II 2 2 Jazz/Theater Dance Connie Vandarakis, Assistant Professor DA 103 A/B Modern Dance I-II 2 2 Peter Bertini, Associate Professor DA 113 A/B Jazz Dance I-II 1 1 Adrienne Hawkins, Accompanists DA 123 A/B Tap I-II 1 1 Adjunct Associate Professor Larissa Bell DA 107 Eurythmics 1 - Ronen Koresh, Adjunct Assistant Professor Hans Boman DA 109 Improvisation I - 1 DA 116 A/B Fundamentals of Wayne St. David, Lecturer Saine Hsu Dance I-II 1 1 Richard Iannacone DA 117 Survey of Music - 3 Modern Dance John Levis DA 190 Language of Music 1 - Ruth Andrien, Assistant Professor Tom Lowery HU 110 A/B First Year Writing 3 3 Joan Myers Brown, Valentina Slutsky HU 103 A/B Intro. to Modernism 3 3 Visiting Distinguished Guest Artist Electives - 1 Manfred Fischbeck, Technical Director 16 18 Adjunct Associate Professor Jay Madara Nancy Kantra, Assistant Professor Sophomore Year Gabriel Masson, Visiting Artist Costumer DA 201 A/B Ballet III-IV 2 2 Paula Sepinuck, Adjunct Associate Professor Clyde Michael Hayes DA 203 A/B Modern Dance III-IV 2 2 Faye B. Snow, Adjunct Associate Professor DA 213 A/B Jazz Dance III-IV 1 1 Leah Stein, Adjunct Associate Professor DA 205 A Notation I 2 - Pat Thomas, Assistant Professor DA 209 Anatomy for Dancers 1 - DA 210 Kinesiology - 1 Tap Dance DA 211 A/B Dance History I-II 3 3 DA 216 Music for Dancers 1 - Joan Lanning, Instructor DA 217 Dance Composition I - 1 LaVaughn Robinson, Adjunct Professor DA 77- Dance Ensembles 1 1 HU XXX Liberal Arts 3 3 African Dance Electives 1 1 Jeanine Lee Osayande, 17 15 Adjunct Associate Professor

Brazilian Dance Peter Bertini, Associate Professor

96 Ballet Major Jazz/Theater Dance Major Modern Dance Major Credit Requirements Credit Requirements Credit Requirements Total Credits: 128 Total Credits: 128 Total Credits: 128

The final two years of the Ballet major The Jazz/Theater Dance major empha- Modern Dance majors further develop emphasize advanced technique in ballet, sizes acting, music, and voice in addition to technique, repertoire, and composition in including Pointe or Men’s Ballet class. In the technical study of jazz dance, and the area of Modern Dance. In addition, addition, Ballet majors continue non-major prepares students for dance careers related Modern Dance Majors also pursue non- studies in either Modern or Jazz Dance. to theatrical performance. major studies in either Ballet or Jazz Dance.

Junior Year Semester Credits Junior Year Semester Credits Junior Year Semester Credits Required Courses: 1st 2nd Required Courses: 1st 2nd Required Courses: 1st 2nd DA 301 A/B Ballet V-VI 4 4 DA 311 A/B Jazz V-VI 4 4 DA 303 A/B Modern Dance V-VI 4 4 DA 308 A/B Dance Pedagogy I-II 2 2 DA 308 A/B Dance Pedagogy I-II 2 2 DA 305 A/B Modern DA 307 A/B Ballet Repertory I-II 1 1 DA 317 A/B Dance Repertory I-II 1 1 DA 309 A/B Partnering I-II 1 1 Composition II-III 2 2 DA 308 A/B Dance Pedagogy I-II 2 2 DA 319 Theater Functions - 1 DA 319 Theater Functions - 1 DA 317 A/B Dance DA 324 Character Dance - 1 DA 323 A/B Tap III-IV 1 1 Composition II-III 2 2 DA 326 A/B Modern Dance for DA 325 A/B Ballet for DA 319 Theater Functions - 1 Non-Majors V-VI 1 1 Non-Majors V-VI 1 1 DA 322 A/B Improvisation II-III 1 1 DA 321 A/B Pointe I-II or 1 1 DA 345 A/B Voice I-II or 1 1 DA 325 A/B Ballet for DA 327 A/B Men’s Class I-II TH 100 A/B Acting I-II Non-Majors V-VI 1 1 DA 77- Dance Ensembles 1 1 DA 77- Dance Ensembles 1 1 DA 77- Dance Ensembles 1 1 HU XXX Liberal Arts 3 3 HU XXX Liberal Arts 3 3 HU XXX Liberal Arts 3 3 Electives 2 1 Electives 2 1 Electives 1 1 Junior Year Total 16 17 Junior Year Total 17 17 Junior Year Total 16 17

Senior Year Senior Year Senior Year Required Courses: Required Courses: Required Courses: DA 401 A/B Ballet Major VII-VIII 4 4 DA 411 A/B Jazz VII-VIII 4 4 DA 403 A/B Modern DA 419 A/B Dance Production I-II 2 2 DA 419 A/B Dance Production I-II 2 2 Dance VII-VIII 4 4 DA 426 A/B Modern Dance for DA 425 A/B Ballet for DA 419 A/B Dance Production I-II 2 2 Non-Majors VII-VIII 1 1 Non-Majors VII-VIII 1 1 DA 425 A/B Ballet for DA 77- Dance Ensembles 1 1 DA 77- Dance Ensembles 1 1 Non-Majors VII-VIII 1 1 HU XXX Liberal Arts 6 3 HU XXX Liberal Arts 6 3 DA 77- Dance Ensembles 1 1 Electives 1 3 Electives 1 2 HU XXX Liberal Arts 6 3 Senior Year Total 15 14 Senior Year Total 15 13 Electives 2 2 Senior Year Total 16 13

Note: DA 328 and DA 428 may substitute Note: DA 326 and DA 426 may substitute for DA 326 and DA 426. for DA 325 and DA 425. Note: DA 328 and DA 428 may substitute for DA 325 and DA 425.

97 Dance Education Major Certificate in Dance Special Regulations/ Credit Requirements Credit Requirements Total Credits: 130 Total Credits: 55 Requirements

Students choosing to pursue the Bachelor First Year Semester Credits Dance Technique Class of Fine Arts in Dance Education continue Required Courses: 1st 2nd Regular, consistent presence in dance dance technique studies in one major area DA 100 Rythym for Dancers 1 - technique classes is essential to the and one non-major area of concentration. DA 101 A/B Ballet I-II 2 2 student’s professional development. Dance The culmination of the program is an DA 103 A/B Modern Dance I-II 2 2 technique classes meet up to five times per internship as a student teacher. DA 107 Eurythmics 1 - week, depending upon the course and level. DA 109 Improvisation I - 1 Absences must not exceed the number of Junior Year Semester Credits DA 113 A/B Jazz Dance I-II 1 1 credits per semester for the particular Required Courses: 1st 2nd DA 116 A/B Fundamentals of course, i.e., in a two-credit course, no more DA 3XX A/B Major Technique 4 4 Dance I-II 1 1 than two absences are permitted. Extensive DA 3XX A/B Non-Major Dance 1 1 DA 117 Survey of Music - 3 absences, whether ‘excused’ or ‘unexcused,’ DA 308 A/B Dance Pedagogy I-II 2 2 DA 123 A/B Tap I-II 1 1 will adversely effect the course grade. If, DA 317 A/B Dance DA 190 Language of Music 1 - after warnings, a student persists in not Composition II-III 2 2 DA 319 Theater Functions - 1 attending or participating in class, he/she DA 319 Theater Functions - 1 Electives 2 1 will fail the course and be placed on departmental probation. DA 77- Dance Ensembles 1 1 First Year Total 12 13 HU XXX Liberal Arts 6 3 Electives 1 3 Physical Demands of the Second Year Program Junior Year Total 17 17 Required Courses: It is essential that the dancer be fully DA 201 A/B Ballet III-IV 2 2 prepared for a physically demanding career. Senior Year DA 203 A/B Modern Dance III-IV 2 2 Should a student experience an illness or Required Courses: DA 209 Anatomy for Dancers 1 - injury that requires abstaining from the DA 4XX A Major Technique 4 - DA 210 Kinesiology - 1 rigors of the class, he/she must present DA 4XX Non-Major Dance 1 - DA 211 A/B Dance History 3 3 documentation of such illness/injury to the DA 408 A/B Dance Symposium I-II 3 3 DA 213 A/B Jazz Dance III-IV 1 1 director of the School of Dance. Each case DA 410 Student Teaching - 7 DA 216 Music for Dancers 1 - will be evaluated individually. It may be DA 419 A/B Dance Production I-II 2 2 DA 217 Dance Composition I - 1 necessary for the student to take a leave of HU XXX Liberal Arts 6 - DA 308 A/B Dance Pedagogy-II 2 2 absence or to leave the program perma- Electives 1 1 DA 77- Dance Ensembles 1 1 nently if the student is unable to physically Senior Year Total 17 13 Electives 2 2 participate in the program. Second Year Total 15 15 In cases of long-term injury or illness, it is necessary for the student to present medical documentation to be considered for readmission. Extra-Curricular Activities All students are expected to attend all classes and rehearsals for which they are registered. Outside commitments must never interfere with school work. If a student has an outside professional perfor- mance, he/she must ask the Director for special permission to be absent from school. Performance Requirements To fulfill the curricular requirement in performance, every sophomore, junior and senior dance major is required to participate in at least one performance each semester in either faculty-directed ensembles or a senior student’s work. Freshmen are required to perform in the Freshmen Project. Scheduled concerts include end-of- semester performances in the Merriam Theater; senior concerts; freshmen, sophomore and junior composition concerts 98 in the UArts Dance Theater. Ensemble Requirements 4. Evaluation: Dance students view Professional Standards and Sophomores are required to take a their senior concert as the culmination of Behavior maximum of one ensemble per semester. their four years at The University of the Students are expected to maintain high Junior Modern Majors are required to Arts and an extremely important aspect of standards of professionalism in studio, take one ensemble plus Modern Repertory. their college experience. The faculty too, classroom, rehearsal and performance Junior Jazz Majors may take a maximum judge this performance as a serious commitments. Failure to follow directions, of two ensembles per semester. demonstration of the student’s ability as a and absence from or lateness to rehearsals, Junior Ballet Majors may take Ballet dance artist. All senior dance students performances and related activities may Ensemble and an optional ensemble for a must present their finished choreography on result in Academic Censure including maximum of two ensembles per semester. a date scheduled by the School to a jury lowering of grade or course failure. Seniors may take a maximum of three consisting of three faculty members and the ensembles per semester. Director of the School of Dance. Evalua- tions of the content of the performance are If a student wishes to drop the assigned offered by at least three faculty members ensemble, he/she will not be able to register after the performance. Dance Extension (or take for noncredit) another ensemble, The production aspect of the concert is unless there is a class schedule conflict. graded by the faculty in charge of the course. The final grade thus reflects both 211 South Broad Street Ensemble Electives the process and the choreographic end result. 215-717-5110 All students are placed in one required Student Evaluations The Dance Extension Division offers ensemble by audition. Juniors (except for credit and noncredit dance courses for Juried examinations in each technique Modern Majors) and Seniors may add an students of all ages, from beginner through take place at the end of each semester. In additional ensemble for credit. advanced levels. The programs enable addition, individual conferences are students to explore their potential in a scheduled in December and May. At this Senior Dance Concert stimulating and professional environment. time, the faculty and student explore the One of the School’s most important The Extension Division presents a wide progress made in the program and review requirements for graduation is the creation variety of courses, taught by the same the student’s potential for future success. of a senior dance concert which includes highly qualified instructors who work with The School of Dance recognizes that it is responsibility for choreography, rehearsals, our full-time students of the School of possible for a student to earn a passing lighting, costume and sound design, and Dance. These courses for non-Dance Majors grade in a course yet not truly be able to advertising the concert. are open to all University of the Arts perform on a professional level in the art 1. Preparation for the senior concert students for elective credit. takes place during the two-semester Dance form. In this instance, the faculty and Production course. A faculty advisor will Director will advise the student of this lack assist in the choreographic and technical of promise for a future career and make production of the concert. Performance suggestions for alternative career options. dates are chosen in September. Concerts are shared by several seniors. Academic Progress 2. Requirements: Students will receive Academic Censure, a. Choreography – All majors must as determined by the Academic Review choreograph at least one group piece. In Committee, for the following reasons: addition, students may choreograph either a 1. Semester GPA below 2.0. second group work or a solo; however, the 2. Grade below “B-” (2.67) in the total must not exceed 16 minutes. All music following major courses: must be approved by the faculty advisors. Year 1 – Dance Studios: b. Performance – All students must Ballet (DA 101 A/B); perform in at least one work. Modern (DA 103 A/B); c. Technical Assistance – Each student Jazz (DA 113 A/B) must fulfill a crew requirement either as Years 2-4 – Major Studios: stage manager; lighting, sound, or video Ballet, Modern or Jazz technician; or backstage assistant in Year 4 – Dance Ed Majors: another student’s performance. Dance Symposium (DA 408 A/B); 3. Responsibilities: The University Student Teaching (DA 410) provides the theater, a technical director 3. No credit will be granted for major and the basic technical facilities. Any courses (listed above) with grades of additional support, special lighting or “C-” (1.67) or less. Such courses sound needs must be provided by the must be repeated. student. All programs, flyers, and promo- 4. Failure to meet the stipulation for tional materials can be duplicated by the removal of Academic Censure by the dance office if presented well in advance of end of the specified period will the production in a finished state. result in dismissal. 99 Bachelor of Music in Performance, which Facilities The School of prepares students for careers as music The School of Music is located in the professionals in vocal or instrumental Merriam Theater building at 250 South Music performance, or composition; the Master Broad Street. Facilities include fully of Arts in Teaching in Music Education, equipped music studios, practice rooms, a Marc Dicciani which prepares students for certification as class piano laboratory, and classrooms. The Director music teachers for kindergarten through school’s MARS (MIDI and Recording Richard Hotchkiss 12th grade; and the Master of Music in Studios) is a state-of-the-art recording and Assistant to the Director, Jazz Studies which is a finishing program music technology facility, with a complete Managing Coordinator for highly advanced students preparing for 32-input recording studio, MIDI and 250 South Broad Street careers as performers or college-level computer labs, computer and synthesizer 215-717-6344 instructors. A unique aspect of the workstation labs, and an audio-for-video undergraduate program allows students to dubbing and editing lab. Most practice The School of Music is dedicated to the select a special Music Education or Jazz rooms are equipped with grand pianos. A preparation and training of musicians for a Studies track that may enable them to suite of fully equipped percussion studios is career in music performance, composition, earn both a Bachelor’s and Master’s degree available for student practice. and music education. The student’s in five years. The University’s historic Merriam growth as a musician is the primary goal The School of Music faculty is made up Theater and the Arts Bank are used for of the program. of experienced and practicing professionals, student and faculty performances. The The music program is distinguished many of whom have attained international music library, located in the Merriam by its emphasis on American music idioms, stature as performing and recording artists. building, contains books, manuscripts, such as jazz and contemporary music, as This professional faculty is supplemented journals, scores, records, tapes, and compact well as European and World traditions. by a long list of guest artists and a discs as well as listening and viewing The School’s mission of training professional regular series of workshops, master classes, facilities, a music education information musicians and educators of the highest and performances with greats that have center, and online access to the Internet caliber is maintained through a conserva- included Wynton Marsalis, Randy and for students. tory atmosphere, which stresses individual- Michael Brecker, Arturo Sandoval, ized training, and a comprehensive Dave Weckl, Joshua Redman, Jack curriculum that includes private lessons DeJohnette, Terence Blanchard, Larry Performance with master faculty and an abundance and Goldings, Bill Stewart, Peter Nero, Ernie Opportunities/Ensembles diversity of ensembles. Course work for Watts, Mike Stern, Bob Berg, Jon Faddis, instrumental and composition majors Chris Potter, Adam Nussbaum, Dave Big Band includes jazz improvisation, jazz theory and Liebman, Mike Mainieri, Gonzalo “Blue Note” Ensemble Brass Ensemble ear-training, arranging, orchestration, basic Rubalcaba, Dennis Rowland, Gregg Field, Brazilian Jazz Ensemble piano and jazz piano, film scoring, music Grover Washington, Jr., Max Roach, Eddie Gomez, Phil Woods, Yo-Yo Ma, Ray “Brecker Brothers” Ensemble and computer technology, MIDI, recording Chamber Singers engineering, music business, music Brown, Scott Henderson, John Fedchock, Pat Martino, Phil Ramone, Bill Watrous, Chorus histories (classical, jazz, American, rock, Drumset Ensemble and World music); courses for vocal majors Bob Mintzer, Billy Joel, Peter Erskine, Marvin “Smitty” Smith, Dave Samuels, Fusion Ensemble include music skills, diction, acting, “GRP” Ensemble movement, vocal workshop, vocal improvi- Rob McConnell, and Dennis Chambers. Founded in 1870 as the Philadelphia Handbell Choir sation, and piano accompanying. “Horace Silver” Ensemble Performance opportunities play an Musical Academy, which later merged with the Philadelphia Conservatory of Music, Jazz Guitar Ensemble important part in the student’s education “Jazz Messengers” Ensemble by sharpening technical skills and increas- the School counts among its alumni some of the nation’s most accomplished musi- Jazz Lab Band ing the student’s command of repertoire Latin Jazz Ensemble and styles. The School’s numerous cians including bassist Stanley Clarke, pianists Kenny Barron, André Watts, and “Maynard Ferguson” Ensemble performance ensembles represent all styles “Miles Davis” Ensemble Sumi Tonooka, vocalists Florence Quivar and categories of jazz and American music. Musical Theater Ensemble and Osceola Davis, drummer Gerry Brown, Students are involved in a rigorous schedule New Music Ensemble of performances, with over 150 concerts saxophonist Lew Tabackin, composer Percussion Ensemble and recitals presented each year. Vincent Persichetti, and TV/Film compos- Saxophone Ensemble This contemporary curriculum is ers John Davis and Edd Kalehoff. Trombone Ensemble organized in three degree programs: the Vocal Jazz Ensemble Wind Ensemble “Yellowjackets” Ensemble Faculty Recitals Guest Artist Concerts Opera Scenes Small Jazz Ensembles 100 Student Recitals Programs of Study knowledge in a range of vocal styles and MATPREP Major Areas of Concentration literature including classical, jazz/contem- Master of Arts in Teaching – porary, and musical theater. Students Corequisite Program Flute receive private instruction in voice, and MATPREP is a seventeen-credit course Clarinet take a core of course work in Music Skills, of study designed to satisfy corequisite requirements for entrance into the Master Saxophone Sight Singing, Diction, Movement, Styles, of Arts in Teaching in Music Education Woodwinds Acting, Piano Accompanying for Vocal program. Open to all undergraduate music Trumpet Majors, Recording, and Careers in Music. majors, classes include an Introduction to Trombone Additionally, vocal majors select classes and Music Education, Basic Conducting, Lab Tuba ensembles which most accurately reflect performance and study interests, including Teaching, Psychology of Music Teaching, Guitar and Orchestration. Completion of the Bass (Electric and/or Upright) Opera Scenes, Jazz Vocal Ensembles, Chorus, Chamber Singers; and classroom MATPREP program with an average of 3.0 Percussion or higher in these courses and an overall Drums activities such as Jazz, American, Western, and Musical Theater Music History, Vocal cumulative GPA of 2.75 or higher satisfies Piano most MAT entrance requirements. Violin Workshops; and an ongoing series of Composition Master Classes. Voice Bachelor of Music in Graduate Programs Composition Master of Arts in Teaching in Students enrolled in this program take Music Education (MAT) Undergraduate private instruction in composition in The Master of Arts in Teaching in Music Programs addition to course work in orchestration, Education is a thirty-six credit program MIDI and synthesis, jazz arranging, and designed for students who have completed Bachelor of Music in conducting. Wherever possible, student Bachelor’s degrees in applied music, music Instrumental Performance in compositions are read by an ensemble or theory/composition, music history/ Jazz/Contemporary Music performed, and frequent performances of literature, or other non-education, music The Jazz/Contemporary instrumental students’ music highlight the school’s related curricula. The MAT can be curriculum provides a direct and pragmatic concert schedule. Student composers are completed in a summer-plus-one academic education for students interested in also encouraged to collaborate with dancers, year format, provided that corequisite establishing a career as a performer, choreographers, filmmakers, animators, and requirements have been met and placement arranger, or composer in jazz and/or actors, taking full advantage of the creative testing does not indicate the need for contemporary music. Students receive environment of the University. supplementary studies. Undergraduate weekly, one-hour private lessons in their students in music at the University may major area with renowned artist teachers. Diploma Program take advantage of the preparatory program Performance opportunities are plentiful This four-year program is designed known as MATPREP, a seventeen-credit in the school’s award-winning jazz primarily for students who wish to take the course of studies which satisfies all ensembles. Special courses include Jazz entire musical portion of the undergraduate corequisites. The MAT in Music Education Improvisation, Jazz Theory, Jazz Ear- curriculum without liberal arts courses. leads to teaching certification in the Training, Basic Piano, Jazz Piano, Jazz Students wishing to transfer from this Commonwealth of Pennsylvania. Arranging, History of Jazz, The Business program to the Bachelor’s degree program Master of Music in Jazz of Music, MIDI Synthesis, Recording may apply to do so in any year of their The Master of Music in Jazz Studies is a Engineering, History of Rock, Styles and matriculation and will be required to thirty-two credit program designed for Analysis of Jazz/Contemporary Music, obtain the approval of both the Director of students who have completed a bachelor’s Transcription and Analysis, Orchestration, the School of Music and the Director of degree in jazz performance or other applied Film Scoring, World Music, Wagner, Liberal Arts. music with significant experience in jazz/ 20th Century Music, Advanced Rhythmic contemporary music studies. The MM can Theory, and Advanced Improvisation. Certificate in Music be completed in a one-year, two semester Woodwind majors may elect to enroll The two-year Certificate in Music schedule, providing that all prerequisite in a woodwind specialist program which program consists of the musical studies skills are satisfied prior to beginning the includes the study of various woodwind normally taken during the first two years of program. The entrance requirements instruments. the Bachelor of Music program. No liberal include advanced technical and stylistic arts courses are required. facility on the major instrument, and skills Bachelor of Music in Vocal The Certificate in Music is awarded only in improvisation, jazz theory and ear Performance to students who are in residence and are training, and jazz history. The MM program The vocal program in the School of matriculated in the certificate program. is intended to dramatically increase the Music is a unique curriculum which student’s performance abilities, as well as provides strong training in traditional provide a diversity of other professional- vocal technique, and combines skills and level competencies, preparing the student for a career as a music professional or college-level teacher. 101 School of Music Faculty Percussion/Drums Recording Robert Brosh, Adjunct Assistant Professor James Gallagher, Adjunct Assistant Professor Applied and Ensemble Studies Marc Dicciani, Adjunct Associate Professor Peter Rydberg, Lecturer Tony Miceli, Senior Lecturer Voice Joseph Nero, Adjunct Assistant Professor Music Business Paul Adkins, Senior Lecturer James Paxson, Adjunct Assistant Professor Marc Dicciani, Adjunct Associate Professor Seán Deibler, Associate Professor Marlon Simon, Senior Lecturer Jeffrey Kern, Chair, Assistant Professor Music Education - Reginald Pindell, Senior Lecturer Ensembles and Conducting Undergraduate and Graduate Patricia Raine, Assistant Professor Chorus and Chamber Singers Studies Anne Sciolla, Senior Lecturer Seán Deibler, Associate Professor Marc Dicciani, Adjunct Associate Professor Patricia Stasis, Adjunct Assistant Professor Jeffrey Kern, Assistant Professor Annette DiMedio, Associate Professor J.D. Walter, Senior Lecturer William F. Garton, Senior Lecturer Large Jazz Ensembles Janice K. Goltz, Assistant Professor, Strings Anthony Biancosino, Wind Ensemble, Division Head John Blake, Adjunct Associate Professor Adjunct Assistant Professor Robert D. Goltz, Senior Lecturer Richard Hotchkiss, Senior Lecturer Richard Kerber, Lab Band, Regina Gordon, Senior Lecturer Jennifer Morgo, Senior Lecturer Adjunct Associate Professor Richard Kerber, Adjunct Associate Professor Evan Solot, Fusion Ensemble, Professor Jeffrey Kern, Assistant Professor Saxophone Bill Zaccagni, Big Band, Assistant Professor John Knebl, Senior Lecturer Chris Farr, Senior Lecturer Theodore Pasternak, Senior Lecturer Ronald Kerber, Assistant Professor Small Jazz Ensembles Andrew Rudin, Professor Frank Mazzeo, Adjunct Assistant Professor All Jazz faculty Thomas Rudolph, Michael Pedicin, Jr., Senior Lecturer Adjunct Assistant Professor Anthony Salicondro, Senior Lecturer Anthony Salicondro, Senior Lecturer Bill Zaccagni, Assistant Professor Music Studies Latin/American Music Trumpet Composition and Theory Orlando Haddad, Brazilian Jazz, Richard Kerber, Adjunct Associate Professor George Akerley, Adjunct Assistant Professor Senior Lecturer George Rabbai, Senior Lecturer Donald Chittum, Co-Chair, Professor Edward Simon, Latin Jazz, Senior Lecturer John Swana, Senior Lecturer Andrea Clearfield, Marlon Simon, Afro-Cuban Jazz, Dennis Wasko, Senior Lecturer Adjunct Assistant Professor Senior Lecturer Jennifer Morgo, Senior Lecturer Trombone Andrew Rudin, Co-Chair, Professor Class Piano John Fedchock, Senior Lecturer Evan Solot, Professor Annette DiMedio, Associate Professor Richard Genovese, Andrea Clearfield, Senior Lecturer Adjunct Assistant Professor Computer and Electronic Music Don Glanden, Adjunct Assistant Professor George Akerley, Adjunct Assistant Professor David Hartl, Adjunct Assistant Professor Keyboards Dave Hartl, Assistant Professor Jeffrey Kern, Assistant Professor Annette DiMedio, Associate Professor Thomas Rudolph, David Posmontier, Senior Lecturer Sam Dockery, Senior Lecturer Adjunct Assistant Professor David Thomas, Senior Lecturer Don Glanden, Assistant Professor Dave Hartl, Assistant Professor Conducting Music Librarian Trudy Pitts, Adjunct Associate Professor Seán Deibler, Associate Professor Mark Germer David Posmontier, Senior Lecturer Regina Gordon, Senior Lecturer Edward Simon, Senior Lecturer Jeffrey Kern, Assistant Professor Jazz Improvisation Theodore Pasternak, Senior Lecturer Jimmy Bruno, Adjunct Assistant Professor Guitar Don Glanden, Assistant Professor Jimmy Bruno, Adjunct Assistant Professor Musicianship Ronald Kerber, Assistant Professor Robert DiNardo, Seán Deibler, Associate Professor John Swana, Senior Lecturer Adjunct Assistant Professor Chris Farr, Senior Lecturer Craig Thomas, Adjunct Associate Professor Thomas Giacabetti, Senior Lecturer Don Glanden, Assistant Professor J.D. Walter, Senior Lecturer Patrick Mercuri, Adjunct Assistant Professor Ronald Kerber, Assistant Professor Michael Quaile, Senior Lecturer Jeffrey Kern, Assistant Professor Special Adjunct Faculty Evan Solot, Professor Bob Berg, Saxophone Upright Jazz Bass/Electric Bass Randy Brecker, Trumpet Steve Beskrone, Senior Lecturer Music History and Literature Robin Eubanks, Trombone Kevin MacConnell, Senior Lecturer Robert Brosh, Adjunct Assistant Professor Mike Stern, Guitar Craig Thomas, Adjunct Associate Professor Donald Chittum, Professor Grover Washington, Jr., Saxophone Gerald Veasley, Senior Lecturer Annette DiMedio, Associate Professor Mark Germer, Senior Lecturer Andrew Rudin, Professor 102 Bill Zaccagni, Assistant Professor Special Regulations/ Faculty Advisors are considered cumulative: e.g., a jury All students are assigned to a faculty examination of a second year student may Requirements advisor. Lists are posted in the Merriam include requirements from the first year. It Lobby during the first week of the academic is possible for a student to pass the jury Attendance year. Appointments can be made at the examination and yet receive a failing grade The number of hours of “Unexcused mutual convenience of the student and the in the major, due to the different grading Absences” permitted per semester in the faculty advisor. and evaluation criteria for each. However, a School of Music may not exceed the number Students should feel free to see their student who fails the jury will receive a of credits per course; i.e., in a three-credit advisor at any time concerning problems failure in the major. course no more than three hours of that they may encounter. unexcused absences are permitted, in a two- Jury Recital Requirements credit course, no more that two hours of Jury Examinations Regulations regarding jury examinations, unexcused absences are permitted, etc. All 1st, 2nd, and 3rd-year music majors Junior and Senior Recitals are available in must take a jury examination in their the office of the School of Music. Attendance at Lessons applied area upon the completion of the Students must attend all private lessons 2nd, 4th, and 6th semesters of study. This Academic Progress as scheduled except in the case of illness or usually occurs in May during the week Students will receive Academic Censure, emergency. It is the student’s responsibility immediately following classroom examina- as determined by the Academic Review to notify the teacher if he/she is unable to tions. However, students who began their Committee, for the following reasons: keep the appointment time. Failure to give matriculation in midyear, transferred from 1. Semester GPA below 2.0. at least 24 hours prior notice may mean another institution, or have failed their jury 2. Grade below “B-” (2.67) in the forfeiture of the lesson. A maximum of in a prior year may be scheduled to take the following major courses: three lessons per semester will be made up examination in December. Major Lessons (MU 192- 492 A/B) in the case of excused absences. Lessons Students are evaluated in comparison to 3. Credit will not be granted for major missed because of unexcused absences will the Minimum Applied Jury Requirements courses (listed above) with grades of not be made up. in their major. A list of these requirements “C-” (1.67) or less. Such courses Lessons missed due to the teacher’s is given to each student by his/her major must be repeated. absence will be rescheduled and made up teacher at the beginning of each year. The 4. Failure to meet the stipulation for by the teacher. jury consists of at least two faculty removal of Academic Censure by the Unless circumstances render it impos- members (at least one of whom must be in end of the specified period will sible, “make-up” lessons for the Fall the same applied area) in addition to the result in dismissal. semester are to be completed prior to the major teacher (who may be present but may Spring semester; “make-up” lessons for the not grade). The jury examination is graded “First Wednesday” Spring must be completed by June 15. “Pass/Fail”, but also includes areas of The first Wednesday of each month is Normally, students are entitled to optional letter grading evaluation. devoted to faculty and guest recitals, twenty-eight, one-hour lessons during the Failure in any single “Pass/Fail” aspect of lectures, master classes, and workshops, academic year (fourteen per semester). the jury examination constitutes an “F” as well as student performances. (Failure) in the entire jury examination. A Music majors should not schedule Change of Major Teacher student who fails the jury fails the entire other commitments during the time Students who wish to petition for a semester in the applied major; the designated as First Wednesday. In change of major teacher must: examination may not be retaken. A grade addition, all music students are encouraged 1. Secure “Request for Change of Major of “F” will appear on the student’s tran- to attend student and professional perfor- Teacher” form from the Director of the script for both the major lessons and the mances on a regular basis. School of Music. jury exam, and the student will receive no 2. State reasons for requesting a credit for the semester’s work. The student Professional Standards and change of teacher. must repeat the failed semester of applied Behavior 3. Obtain the approval of the present study and retake the jury examination at Students are expected to maintain high and the requested teacher. the completion of the next semester. A standards of professionalism in studio, 4. Obtain the approval of the student who fails the same semester jury classroom, rehearsal and performance department chair. examination more than once, or who fails a commitments. Failure to follow directions, 5. Obtain the approval of the Director total of more than one jury examination and absence from or lateness to rehearsals, of the School of Music. during his/her matriculation at the performances and related activities may Such changes are not usually effected University will be recommended for result in Academic Censure including during the semester. If the change is dismissal. lowering of grade or course failure. approved during the semester, in addition The requirements which are tested in the to the process stated above, the student jury examination are those which have been must also complete a drop/add form to established, by a departmental faculty correct the current major teacher designa- committee, to be the minimum set of skills tion. The drop/add form must be signed by and knowledge necessary for successful the Director of the School of Music and completion of applied study. Requirements submitted to the Office of the Registrar. are established for each year of study and 103 Graduation BM – Instrumental Performance Requirements Jazz/Contemporary Total Credits: 126 In addition to the general PCPA requirements for graduation, the following Freshman Year Semester Credits must be fulfilled: Required Courses: 1st 2nd MU 192 A/B Major Lessons 3 3 Undergraduate Requirements MU 103 A/B Musicianship 1. Performance Majors must present Studies I-II 3 3 a satisfactory Graduation Recital before MU 107 A/B Music Theory I-II 3 3 the public (“satisfactory” performance MU 131 A/B Piano I-II * 1 1 to be determined by majority vote of a MU 7XX Ensembles 1 1 faculty Jury). HU 103 A/B Intro. to Modernism 3 3 2. Composition Majors must submit a HU 110 A/B First Year Writing 3 3 satisfactory substantial work in the Senior MU 002 Jury Examination - 0 year, to be publicly performed, adjudicated Freshman Year Total 17 17 by the faculty of the Composition Department. Sophomore Year MU 292 A/B Major Lessons 3 3 Exit Requirements for the MU 209 A/B Jazz Ear Training I-II 3 3 MAT in Music Education MU 208 A/B Jazz Theory I-II 3 3 Successful completion of all course and MU 213 A/B Jazz Improvisation I-II 2 2 related requirements shall lead to the MU 232 A/B Class Jazz Piano I-II * 1 1 granting of the Master of Arts in Teaching MU 7XX Ensembles 1 1 with a major in Music Education, provided HU XXX Liberal Arts 3 3 that an overall GPA of 3.0 or higher is MU 002 Jury Examination - 0 maintained. However, approval of the MAT Sophomore Year Total 16 16 in Music Education Committee is required for recommendation for teacher certifica- Junior Year tion. It should be noted also that the MU 392 A/B Major Lessons 3 3 initial Instructional I Certificate cannot be MU 301 A/B Music History I-II 3 3 issued by the Commonwealth of Pennsylva- MU 310/311 Transcription and nia Department of Education unless PDE Analysis 1 1 testing requirements have been met. MU 7XX Ensembles 1 1 HU XXX Liberal Arts 3 6 Exit Requirements for the Electives 3 3 Master of Music in Jazz Studies MU 002 Jury Examination - 0 All MM students must complete a satisfactory graduate project and a graduate Junior Year Total 14 17 recital in order to meet the degree requirements for completion of the Master Senior Year of Music. MU 492 A/B Major Lessons 3 3 MU 413 A Recording I 2 - MU 420 B Careers in Music ** - 2 MU 401 A Jazz History 3 - MU 401 B American Music History - 3 MU 7XX Ensembles 1 1 MU 7XX Ensembles 1 1 HU XXX Liberal Arts 3 3 Electives 3 - Senior Recital 0 - Senior Year Total 16 13

N.B. All Instrumental majors are required to successfully complete 1 year of Chorus and 1 semester of New Music Ensemble, which may be taken as Ensemble credits.

104 BM – Vocal Performance N.B. All Vocal majors are required to BM – Composition Total Credits: 126 successfully complete 1 semester of New Total Credits: 126 Music Ensemble, which may be taken as Freshman Year Semester Credits Freshman Year Semester Credits Ensemble credit. Required Courses: 1st 2nd Required Courses: 1st 2nd MU 193 A/B Major Lessons 3 3 MU 191 A/B Major Lessons 3 3 * Note: Piano MU 131 A/B and MU 103 A/B Musicianship TH 122 A/B Music Skills I-II 2 2 MU 232 A/B not required for Jazz Studies I-II 3 3 MU 131 A/B Piano I-II 1 1 Piano Majors. Substitute additional MU 107 A/B Music Theory I-II 3 3 MU 772 Chorus 1 1 4 elective credits. TH 100 A/B Acting I-II 1 1 MU 131 A/B Piano I-II 1 1 MU 772 Chorus 1 1 DA XXX Dance (Movement) 1 1 ** Note: All undergraduate Music HU 103 A/B Intro. to Modernism 3 3 HU 103 A/B Intro. to Modernism 3 3 students are required to take MU 420 A HU 110 A/B First Year Writing 3 3 HU 110 A/B First Year Writing 3 3 or MU 420 B. Students who take both MU 002 Jury Examination - 0 MU 002 Jury Examination - 0 may use one towards elective credits. Freshman Year Total 15 15 Freshman Year Total 17 17

Sophomore Year Sophomore Year MU 291 A/B Major Lessons 3 3 MU 293 A/B Major Lessons 3 3 TH 222 A/B Music Skills III-IV 2 2 MU 209 A/B Jazz Ear Training I-II 3 3 MU 232 A/B Jazz Piano I-II 1 1 MU 208 A/B Jazz Theory I-II 3 3 MU 241 A/B Vocal Styles and MU 315 A Jazz Arranging 2 - Diction I-II 2 2 MU 232 A/B Class Jazz Piano I-II 1 1 MU 772 Chorus 1 1 MU 7XX Ensembles 1 1 MU 7XX Ensembles 1 1 HU XXX Liberal Arts 3 3 DA XXX Dance (Movement) 1 1 MU 002 Jury Examination - 0 HU XXX Liberal Arts 3 3 Sophomore Year Total 16 14 TH 312 A Musical Theater History 3 0 Junior Year MU 002 Jury Examination - 0 MU 393 A/B Major Lessons 3 3 Sophomore Year Total 17 14 MU 301 A/B Music History I-II 3 3 MU 317 A Orchestration I 3 - Junior Year MU 7XX Ensembles 1 1 MU 391 A/B Major Lessons 3 3 MU 415 A Intro to MIDI 3 - MU 301 A/B Music History I-II 3 3 HU XXX Liberal Arts 3 6 MU 341 A/B Vocal Styles and Electives - 3 Diction III-IV 2 2 MU 002 Jury Examination - 0 MU 347 A/B Adv. Sight Read. I-II 1 1 Junior Year Total 16 16 MU 772 Chorus 1 1 MU 7XX Ensembles 1 1 Senior Year MU 331 A/B Advanced Piano for MU 493 A/B Major Lessons 3 3 Vocalists I-II 1 1 MU 413 A Recording I 2 - HU XXX Liberal Arts 3 3 MU 420 B Careers in Music * - 2 Electives 3 - MU 401 A Jazz History 3 - MU 002 Jury Examination - 0 MU 401 B American Music Junior Year Total 18 15 History - 3 MU 7XX Ensembles 1 1 Senior Year HU XXX Liberal Arts 3 3 MU 491 A/B Major Lessons 3 3 Electives 3 3 MU 401 A Jazz History 3 - Senior Recital 0 - MU 441 A/B Vocal Workshop I-II 1 1 Senior Year Total 15 15 MU 420 A Business of Music ** 2 - MU 772 Chorus 1 1 MU 7XX Ensembles 1 1 N.B. All Composition majors are required HU XXX Liberal Arts 3 6 to successfully complete 1 year of Chorus and 1 year of New Music Ensemble, which Electives 3 3 may be taken as Ensemble credits. Senior Recital 0 - Senior Year Total 17 15 * Note: All undergraduate Music students are required to take MU 420 A or MU 420 B. Students who take both may use one towards elective credits. 105 Diploma in Music – Diploma in Music – Diploma in Music – Instrumental Performance Vocal Performance Composition Jazz/Contemporary Total Credits: 104 Total Credits: 104 Total Credits: 104 Freshman Year Semester Credits Freshman Year Semester Credits Freshman Year Semester Credits Required Courses: 1st 2nd Required Courses: 1st 2nd Required Courses: 1st 2nd MU 191 A/B Major Lessons 3 3 MU 193 A/B Major Lessons 3 3 MU 192 A/B Major Lessons 3 3 TH 122 A/B Music Skills I-II 2 2 MU 103 A/B Musicianship MU 103 A/B Musicianship MU 131 A/B Piano I-II 1 1 Studies I-II 3 3 Studies I-II 3 3 TH 100 A/B Acting I-II 1 1 MU 107 A/B Music Theory I-II 3 3 MU 107 A/B Music Theory I-II 3 3 DA XXX Dance (Movement) 1 1 MU 131 A/B Piano I-II 1 1 MU 131 A/B Piano I-II * 1 1 MU 772 Chorus 1 1 MU 7XX Ensembles 2 2 MU 7XX Ensembles 2 2 MU 7XX Ensembles 1 1 MU 002 Jury Examination - 0 MU 002 Jury Examination - 0 Electives 3 3 MU 002 Jury Examination - 0 Freshman Year Total 12 12 Freshman Year Total 12 12 Freshman Year Total 13 13 Sophomore Year Sophomore Year MU 293 A/B Major Lessons 3 3 Sophomore Year MU 292 A/B Major Lessons 3 3 MU 209 A/B Jazz Ear Training I-II 3 3 MU 291 A/B Major Lessons 3 3 MU 209 A/B Jazz Ear Training I-II 3 3 MU 208 A/B Jazz Theory I-II 3 3 TH 222 A/B Music Skills III-IV 2 2 MU 208 A/B Jazz Theory I-II 3 3 MU 315 A Jazz Arranging 2 - MU 232 A/B Class Jazz Piano I-II 1 1 MU 232 A Class Jazz Piano I 1 1 MU 213 A/B Jazz Improvisation I-II 2 2 MU 241 A/B Vocal Styles and MU 232 A/B Class Jazz Piano I-II * 1 1 MU 7XX Ensembles 2 2 Diction I-II 2 2 MU 002 Jury Examination - 0 MU 7XX Ensembles 2 2 DA XXX Dance (Movement) 1 1 MU 002 Jury Examination - 0 MU 772 Chorus 1 1 Sophomore Year Total 14 12 Sophomore Year Total 14 14 MU 7XX Ensembles 1 1 TH 312 A Musical Theater Junior Year Junior Year History I 3 - MU 393 A/B Major Lessons 3 3 MU 392 A/B Major Lessons 3 3 Electives - 3 MU 301 A/B Music History I-II 3 3 MU 301 A/B Music History I-II 3 3 MU 002 Jury Examination - 0 MU 317 A Orchestration I 3 - MU 413 A Recording I 2 - Sophomore Year Total 14 14 MU 7XX Ensembles 1 1 MU 7XX Ensembles 2 2 MU 415 A Intro to MIDI 3 0 MU 310/311 Transcription and Junior Year Electives - 6 Analysis 1 1 MU 391 A/B Major Lessons 3 3 MU 002 Jury Examination - 0 Electives 3 3 MU 301 A/B Music History I-II 3 3 Junior Year Total 13 13 MU 002 Jury Examination - 0 MU 341 A/B Vocal Styles and Junior Year Total 14 12 Diction III-IV 2 2 Senior Year MU 347 A/B Advanced Sight MU 493 A/B Major Lessons 3 3 Senior Year Reading I-II 1 1 MU 413 A Recording I 2 - MU 492 A/B Major Lessons 3 3 MU 331 A/B Advanced Piano for MU 420 A Business of Music 2 - MU 420 A Business of Music 2 - Vocalists I-II 1 1 MU 420 B Careers in Music - 2 MU 420 B Careers in Music - 2 MU 772 Chorus 1 1 MU 7XX Ensembles 1 1 MU 7XX Ensembles 1 1 MU 7XX Ensembles 1 1 MU 7XX Ensembles 1 1 MU 7XX Ensembles 1 1 MU 002 Jury Examination - 0 MU 401 A Jazz History 3 - MU 401 A Jazz History 3 - Junior Year Total 12 12 MU 401 B American Music MU 401 B American Music History - 3 History - 3 Senior Year Electives 3 3 Electives 3 3 MU 491 A/B Major Lessons 3 3 Senior Recital 0 - Senior Recital 0 - MU 401 A Jazz History 3 - Senior Year Total 15 13 MU 401 B American Music History - 3 Senior Year Total 13 13 MU 441 A/B Vocal Workshop 1 1 MU 413 A Recording 2 - *Note: Piano MU 131 A/B and N.B. All Composition majors are required MU 420 B Careers in Music - 2 to successfully complete 1 year of Chorus MU 232 A/B not required for Jazz MU 772 Chorus 1 1 Piano Majors. Substitute additional and 1 year of New Music Ensemble, which MU 7XX Ensembles 1 2 may be taken as ensemble credits. 4 elective credits. Electives 3 0 Senior Recital 0 - N.B. All Instrumental majors are required to successfully complete 1 year of Chorus Senior Year Total 14 12 and 1 semester of New Music Ensemble, N.B. All Vocal majors are required to which may be taken as ensemble credits. successfully complete 1 semester of New 106 Music Ensemble, which may be taken as an ensemble credit. Certificate in Music MATPREP MATPREP Credit Total Credits: 52 MAT in Music Education Requirements Freshman Year Semester Credits Preparatory Program Course Credit Required Courses: 1st 2nd All undergraduate degree students in MU 151 A Introduction to MU 192 A/B Major Lessons 3 3 music at The University of the Arts may Music Education I 1 MU 103 A/B Musicianship enroll in, and take advantage of, the MAT MU 151 B Introduction to Studies I-II 3 3 in Music Education Preparatory Program Music Education II 1 MU 107 A/B Music Theory I-II 3 3 (MATPREP). Completion of this program MU 257 A Lab Teaching/Practicum I 2 MU 131 A/B Piano I-II 1 1 allows students to satisfy all corequisite MU 257 B Lab Teaching/Practicum II 2 MU 7XX Ensembles 2 2 requirements for admission to the MAT in MU 254 Basic Conducting 2 MU 002 Jury Examination - 0 Music Program. MATPREP is also an MU 356 A Music Teaching Skills I * 1 Freshman Year Total 12 12 important means for maintaining continuity between undergraduate and graduate MU 356 B Music Teaching Skills II * 1 Sophomore Year experiences and for fostering communica- MU 451 A Psychology of MU 292 A/B Major Lessons 3 3 tion between students and faculty in Music Teaching I 2 MU 209 A/B Jazz Ear Training I-II 3 3 Music Education. MU 451 B Psychology of MU 208 A/B Jazz Theory I-II 3 3 Admission to the University as a BM/ Music Teaching II 2 MU 313 A/B Jazz Improvisation I-II 2 2 MAT student in Music indicates acceptance MU 317 A Orchestration I 3 MU 232 A Class Jazz Piano I-II 1 1 into the Bachelor of Music program and Total Credits 17 MU 7XX Ensembles 2 2 into the MATPREP program. Full MU 002 Jury Examination - 0 admission to the MAT in Music Education Sophomore Year Total 14 14 program must be granted prior to the * Incorporates advanced skills in functional beginning of graduate-level instruction on piano, guitar, recorder, writing/arranging the same bases as other MAT candidates. for elementary classroom ensembles, handbells, and establishment of classroom A minimum grade point average of 3.0 environment. in MATPREP courses, and a minimum overall cumulative grade point average of 2.75 must be achieved in order to be considered as a candidate for admission into the MAT in Music Education Program.

107 The MAT curriculum in music education Master of Arts in comprises 36 credits and may be completed in a summer plus one academic year schedule, Teaching in Music if all prerequisites are satisfied prior to matriculation. Prerequisite requirements Education may be satisfied in a number of ways, including taking courses in the under- Janice Goltz graduate MATPREP program. Professionals Division Head in the field may choose to complete the MAT 215-717-6347 in Music Education over an extended period of time on a part-time basis. The following The Master of Arts in Teaching in listing presents the normal sequence of Music Education is an advanced teacher courses if completed within one year: certification program designed to prepare individuals with established musical skills and subject matter mastery for successful MAT in Music Education Credit Requirements careers in teaching and education-related fields. It is a unique program in that Summer Fall Spring candidates for the MAT in Music Education MU 554 A Elementary Methods and Materials — 3 — typically will have completed undergradu- MU 554 B Secondary Methods and Materials — 3 — ate studies in applied music, composition, MU 551 Education in American Society — 3 — theory, history/literature, or other profes- MU 550 Advanced Conducting - Choral or Instrumental — 3 — sional areas. After satisfying Pennsylvania MU 560 A Workshop in Instrumental Methods I 2 — — standardized testing requirements, MAT MU 560 B Workshop in Instrumental Methods II — 2 — graduates will be eligible to receive K-12 MU 552 Workshop in Vocal Methods 2 — — certification in music from the Common- MU 553 Music and Special Children — — 2 wealth of Pennsylvania Department of MU 557 Music Administration and Supervision — 3 — Education. In addition, completion of the MU 559 Research, Evaluation, and Technology MAT program fulfills continuing studies in Music Education — — 3 requirements so that after three years of MU 555 Elementary Student Teaching — — 4 full-time teaching service, graduates may MU 556 Secondary Student Teaching — — 4 apply for permanent certification without MU 558 Student Teaching Seminar and Major Project — — 2 taking additional courses. 41715 Music Education graduates of The University of the Arts are currently serving Total Credits 36 successfully as teachers, supervisors, school administrators, and in education-related fields such as computer software develop- ment, broadcasting, law and the arts, and private studio teaching.

108 MAT in Music Education Theodore Pasternak Faculty Senior Lecturer BM, Philadelphia College Marc Dicciani of Performing Arts Director, School of Music Music Ed Certificate, Chestnut Hill College Adjunct Associate Professor BM, Philadelphia Musical Academy Andrew Rudin Professor Annette DiMedio BM, University of Texas Associate Professor MA, University of Pennsylvania BA, Swarthmore College MM, Temple University Thomas Rudolph PhD, Bryn Mawr College Adjunct Assistant Professor BM, BME, Philadelphia Musical Academy William F. Garton MM, West Chester University Senior Lecturer EdD, Widener University BA, MA, Glassboro State College Anthony Salicondro Janice K. Goltz Senior Lecturer Assistant Professor BM, Philadelphia Musical Academy BM, BME, Philadelphia College of Performing Arts MM, Temple University

Robert D. Goltz Senior Lecturer BS, West Chester University MA, Beaver College

Regina Gordon Senior Lecturer BME, Temple University MM, Westminster Choir College

Richard Kerber Adjunct Associate Professor BME, Temple University

Jeffrey Kern Assistant Professor BS, Lebanon Valley College MM, University of Michigan

John Knebl Senior Lecturer BM, BME, Philadephia Musical Academy MA, Villanova University

109 MM in Jazz Studies Faculty Composition and Arranging Master of Music in Evan Solot, Professor Strings Bill Zaccagni, Assistant Professor Jazz Studies John Blake, Adjunct Associate Professor Recording Evan Solot, Saxophone James Gallagher, Adjunct Assistant Professor Chair, Graduate Jazz Studies Ronald Kerber, Assistant Professor Peter Rydberg, Lecturer 215-717-6337 Frank Mazzeo, Adjunct Assistant Professor Michael Pedicin, Jr., Senior Lecturer Latin American Music The Master of Music in Jazz Studies Anthony Salicondro, Senior Lecturer Orlando Haddad, Senior Lecturer, degree has its roots in three decades of Bill Zaccagni, Assistant Professor Brazilian Jazz University of the Arts’ leadership in the Edward Simon, Senior Lecturer, field of jazz education, carefully balancing Trumpet Afro-Cuban Jazz aesthetic goals and a pragmatic approach to Richard Kerber, Adjunct Associate Professor vocational responsibility in the context of George Rabbai, Senior Lecturer Music Technology this American music idiom. Open to a John Swana, Senior Lecturer George Akerley, Adjunct Assistant Professor small and highly advanced group of Dennis Wasko, Senior Lecturer Thomas Rudolph, students who have an undergraduate degree Adjunct Assistant Professor in jazz studies or an undergraduate degree Trombone in music with significant experience in jazz John Fedchock, Senior Lecturer Jazz Improvisation and and contemporary music, or the equivalent Richard Genovese, Transcription thereof, the program–while providing a Adjunct Assistant Professor Jimmy Bruno, Adjunct Assistant Professor solid foundation in contemporary music– Thomas Giacabetti, Senior Lecturer encourages a primary focus on individual Keyboards Don Glanden, Assistant Professor career goals. Don Glanden, Assistant Professor Ronald Kerber, Assistant Professor David Hartl, Assistant Professor John Swana, Senior Lecturer Curriculum Trudy Pitts, Adjunct Associate Professor Among the one-year, 32 credit program’s David Posmontier, Senior Lecturer Special Adjunct Faculty unique curricular components are advanced Edward Simon, Senior Lecturer Bob Berg, Saxophone private instruction in the major area to Randy Brecker, Trumpet develop professional-level artistry and Guitar Robin Eubanks, Trombone skills; hands-on internships and pedagogy Jimmy Bruno, Adjunct Assistant Professor Mike Stern, Guitar study; ensemble performances; arranging, Robert DiNardo, Adjunct Assistant Professor Grover Washington, Jr., Saxophone composing, transcribing and analyzing jazz Thomas Giacabetti, Senior Lecturer and contemporary music; study of MIDI Patrick Mercuri, Adjunct Assistant Professor and music technology; and a final thesis/ project/recital which integrates in-depth Upright Jazz Bass/Electric Bass research on a topic of special relevance into Kevin MacConnell, Senior Lecturer personal instrumental growth, culminating Craig Thomas, Adjunct Associate Professor in a public performance. Graduate Applied Gerald Veasley, Senior Lecturer Studies are the core of the Master of Music in Jazz Studies. Additionally, applied study Percussion/Drums at the graduate level includes a pedagogy Marc Dicciani, Adjunct Associate Professor component. Teaching is a facet of almost Joseph Nero, Adjunct Assistant Professor every performer’s and composer’s career; James Paxson, Adjunct Assistant Professor coursework in the major applied area acknowledges this importance. Large Jazz Ensembles Students, in addition to completion of Richard Kerber, Adjunct Associate Professor, the requisite 32 credits, must take or have Lab Band taken two corequisite courses of two credit Evan Solot, Professor, Transfusion Ensemble hours each: Recording and The Business Bill Zaccagni, Assistant Professor, Big Band of Music. Small Jazz Ensembles All Jazz Faculty

110 MM in Jazz Studies Credit Requirements

Fall Spring MU 692 A/B Major 3 3 MU 615/616 MIDI and Music Technology 2 2 MU 617 Transcription and Analysis 3 0 MU 620/621 Professional Internship 1 1 MU 622 Graduate Arranging 2 0 MU 624 Composing for Performers 0 2 MU 625/626 Advanced Improvisation 2 2 MU 627/628 Graduate Forum 1 1 MU 764 Ensembles 2 2 MU 603 Graduate Project/Recital 0 3 16 16

Total Credits 32

Additional prerequisite/corequisite courses: MU 413 Recording 2 MU 420 Business of Music 2 Total Credits with corequisites 36

111 Facilities Bachelor of Fine Arts (BFA) The School of The School of Theater Arts is located in Musical Theater Program the Terra Building at 211 South Broad The four-year BFA Musical Theater Theater Arts Street. Facilities include classrooms, acting Program prepares students for professional studios, movement/dance studios and careers as performers in the musical theater Gene Terruso music facilities. Performances are held at or for continued study in graduate school. Director the Arts Bank, a new, technically up-to- The program defines the term “musical Theresa DiVincenzo date, 240-seat theater at 601 South Broad theater” in a way that embraces the richness Assistant to the Director Street and the University’s historic Merriam and diversity of this challenging interdisci- 211 South Broad Street Theater, located at 250 South Broad Street. plinary art form, which includes musical 215-717-5450 comedy, the musical play (in the Hammerstein-Sondheim tradition), new The School of Theater Arts of The Programs of Study and alternative music theater, “Broadway University of the Arts is committed to opera,” cabaret and revue. Students receive developing the skills, craft, and attitudes of the same “core” of technique training as its students to prepare them for careers in Bachelor of Fine Arts (BFA) do acting students; this training is the professional theater. Acting Program complemented by training in vocal The goal of the theater school is to create The four-year BFA Acting Program pre- technique, musicianship and dance, and the artists, that is to say, men and women with pares students for careers in the professional study of the repertoire of the musical a personal vision of life by teaching them theater or for continued study in graduate theater in print, recordings, and in rehearsal the craft to enable them to express that school. In the first year, students concen- and performance. vision. The training of the actor is different trate on finding the “core of the actor” Opportunities for master classes, guest from most other professional training in through the study of improvisation, mask speakers, internships, and apprenticeships that the instrument of the training is the characterization, speech, and movement. with many professional companies in the human being itself–the body and soul of The first year of training in the Acting city and region are among the experiences the actor. An actor has to be trained in a Program is designed to encourage an in- open to students in this program. variety of disciplines, each vital in itself and depth self-analysis of the student’s intimately related to all the others. The commitment to the craft as well as foster curriculum acknowledges that the focal the development of particular acting skills. School of Theater Arts Faculty point of the training is the Acting Studio; Progress from one semester to the next is that voice and body training are the by faculty invitation and is based not only Acting Studio principal support areas; that all other on the successful completion of the course Irene Baird, Adjunct Associate Professor work, but also on the faculty’s positive curricular programs address themselves to Johnnie Hobbs, Jr., Chair, the basic knowledge of techniques necessary assessment of the student’s potential for a career in the professional theater. Associate Professor to produce the craft. The program is based Drucie McDaniel, on the conservatory approach combining The second year is devoted to additional study to establish depth of characterization Adjunct Assistant Professor studio training with rehearsal and perfor- Naum Panovski, Assistant Professor mance in varying kinds of productions that and to refine physical and vocal technique. challenge the actor’s ability to perform The third year devotes itself to the Aaron Posner, Adjunct Associate Professor demanding roles. The highly focused and development of diverse acting styles. Peter Pryor, Senior Lecturer demanding training is enhanced by Shakespeare, melodrama, clown work, etc. Gene Terruso, Director, appropriate courses in the liberal arts. are studied in depth. The focus of the School of Theater Arts The BFA Acting Program requires 124 fourth year is on performance, testing the Clista Townsend, Senior Lecturer credits for graduation; the BFA Musical student’s ability to achieve the full Helena White, Senior Lecturer Theater Program requires 128. dimension of a characterization and to sustain that character over the length of a play. The fourth year also prepares the Voice Production/Speech student to enter into the profession. Susanne Case, Adjunct Assistant Professor Students are given instruction in audition Lee Smiley-Grace, techniques, resumé preparation, how to Adjunct Assistant Professor find an agent, etc. The fourth year Neil Hartley, Adjunct Assistant Professor culminates with a showcase of the graduat- David Howey, Chair, Voice/Speech, ing seniors given for agents, directors, and Associate Professor casting directors. Rachel Mausner, Alexander Technique, Lecturer

112 Dance/Movement The Curriculum School of Theater Arts Myra Bazell, Movement, Senior Lecturer An actor must be well versed in a variety Regulations Karen Cleighton, of disciplines, each vital in itself and Musical Theater Dance, Senior Lecturer intimately related to the others. Training Absences Manfred Fischbeck, Movement, in voice, movement, dance, speech, Students in the School of Theater Arts Adjunct Associate Professor improvisation, masks, combat, music, are expected to attend all classes, studios, Keith Hendricks, Movement, Senior Lecturer mime, history, and literature supports work workshops, rehearsals and crews for which Rex Henriques, Musical Theater Dance, done in the acting studio, the heart of the they are registered or otherwise committed. Senior Lecturer curriculum. Students are exposed to a The School does not permit lateness, Nancy Kantra, Chair, Dance/Movement, variety of methods and approaches to except for unavoidable and unforeseeable acting, and encouraged to utilize that Assistant Professor emergencies, in which case the Director, which works best. One semester of stage Assistant to the Director, Technical Kip Martin, Musical Theater Dance, Lecturer combat is required of acting majors. David Newman, Movement, Senior Lecturer Director, or the faculty member should be Combined skills are tested through the contacted immediately. Thomas Updegrove, Movement, rehearsal and performance of productions Senior Lecturer that challenge the student’s ability to Advisors perform a variety of demanding roles. Students are assigned advisors when they Electives are offered that emphasize Musical Theater enter the School of Theater Arts. Advisory directing and dramatic criticism, and Charles Gilbert, Head, Musical Theater, lists are posted in the theater lounge during Associate Professor appropriate courses in the liberal arts the first week of the academic year. The provide a sense of the history of the craft Louis Goldberg, Music Director, advisor conveys information from the and its impact on other disciplines. Assistant Professor faculty to the students and counsels the In the sophomore year, students are Theresa Greenland, Voice, Senior Lecturer student in artistic and academic matters. reexamined by audition. They are respon- The student, however, is wholly responsible Mary Ellen Grant Kennedy, Voice, sible for presenting two contrasting Senior Lecturer for fulfilling his or her artistic and academic monologues which are prepared without obligations and for meeting the require- Patricia Raine, Voice, Assistant Professor faculty supervision. At that audition they ments for graduation. Neal Tracy, Voice, are also examined on the playwrights, the Adjunct Associate Professor choices they have made, and the context of the plays. Musical Theater students Call Boards All Theater students must check the call also each present a solo song prepared Theater Studies boards daily and will be responsible for all independently. Charles Conwell, Script Analysis, official notices posted there within 24 hours. Associate Professor The call boards are used for the posting Mari Fielder, Theater History, Performance Requirements of all rehearsal and crew notices, as well as The School of Theater Arts presents at Adjunct Professor School and professional audition notices. least six major productions a year, both musical and dramatic plays. Plays are Directing Studio selected based on the availability and needs Crew Assignments All first- and second-year students are Charles Conwell, Associate Professor of student actors. All students are required to audition, and an attempt is made to cast required to serve on production crews. Crew assignments and calls are scheduled Acting for Film as many as possible. These productions, the and monitored by the Technical Director. Jiri Zizka, Adjunct Professor keystone of the program, are professionally All crew persons are expected to be directed and designed. prompt for crew calls. Lateness will not be Fourth-year students are expected to Mask Characterization tolerated and action may be taken against Clista Townsend, Senior Lecturer participate in a showcase production designed to aid them in entering the anyone who misses an assigned call. A student who misses a crew call without profession. For this production, agents Make-Up prior permission from the Technical from the Philadelphia area, as well as New David Deneen, Senior Lecturer Director may be dropped from crew and be York City, are invited to attend. All Theater required to serve on crew the following year. Clista Townsend, Senior Lecturer majors are required to attend one perfor- mance of each production. Acting for Non Majors Michael Pedretti, Senior Lecturer

Technical Director/Production Manager Edward Johnson, Technical Director Neal Ann Stephens, Production Manager

113 Extra-Curricular Activities Academic Progress Evaluations – Students who receive Students in the School of Theater Arts Students will receive Academic Censure, unfavorable evaluations (i.e., recommenda- sometimes accept jobs or roles in extracur- as determined by the Academic Review tion for probation) will meet with the full- ricular projects. At no time should a Committee, for the following reasons: time and major faculty (Studio, Speech, and student accept an activity that conflicts 1. Semester GPA below 2.0. Movement) to clarify and discuss problem with a class, rehearsal, crew assignment, 2. Grade below “B-” (2.67) in the areas and strategies for improvement. At etc., or that prevents the student from following major courses: the conclusion of the session, the student being fully prepared for class, rehearsal, Acting and Musical Theater majors: will be given two copies of a letter from the and/or performance. Certain professional Acting, Speech and Movement Studios Director detailing the reasons and the work outside the School can be undertaken, Musical Theatre majors: conditions of the probationary status. The but only with the permission of the Voice for Musical Theater, student will be asked to sign both copies of Director of the School of Theater Arts. Dance for Musical Theater, the letter indicating that he or she Musical Theater Repertory courses understands the reasons, conditions, and Physical Demands of the 3. No credit will be granted for major possible consequences of the probationary Program courses (listed above) with grades of status. The student will keep one copy; The Theater Arts program is physically “C-” (1.67) or less. Such courses the other will be placed in the student’s file demanding. Good health and its must be repeated. in the School of Theater Arts’ office. maintenance are of paramount importance 4. Failure to meet the stipulation for Except in unusual circumstances, a to an actor. removal of Academic Censure by the student who receives an unfavorable Occasional illness or injuries are, of end of the specified period will evaluation should have received at least course, justification for short-term absences. result in dismissal. one verbal warning from the instructor Specific chronic physical or emotional and a copy or copies of the instructor’s The School recognizes that in this art deficiency notice(s). disorders that impair attendance or ability form it is possible for a student to receive to function within the program over a A student who has not shown improve- an adequate grade for a specific course, but ment may be asked to leave the program. longer period of time should be covered by not show promise for a future career in the a formal leave-of-absence. theater as an actor. The School’s obligation In either case, the student should confer to its students, therefore, is to keep them with his or her advisor as soon as a potential abreast of their progress by personal health problem arises. contact and review. It is expected that the student’s commit- Professional Standards and ment to professional training will be clearly Behavior reflected in the quality of work in each Students are expected to maintain high studio and class. standards of professionalism in studio, Warnings – A student will be warned if classroom, rehearsal and performance his/her performance in class is below par as commitments. Failure to follow directions, defined by the instructor’s expectations and absence from or lateness to rehearsals, expressed in the class syllabus, rules, etc. performances and related activities may More specifically, a student will receive a result in Academic Censure including verbal warning, followed by a deficiency lowering of grade or course failure. notice from the Director’s Office if he/she is not demonstrating ability, lacks seriousness of purpose, demonstrates attitudinal behavior which proves disruptive to the ensemble or educational process, is excessively tardy, is not prepared to work in class, or is not seriously committed to professional training.

114 BFA - Acting BFA - Musical Theater Total Credits: 124 Total Credits: 128

Freshman Year Semester Credits Freshman Year Semester Credits Required Courses: 1st 2nd Required Courses: 1st 2nd TH 103 A/B Acting Studio I-II 3 3 TH 103 A/B Acting Studio I-II 3 3 TH 103 L Crew 0 0 TH 103 L Crew 0 0 TH 105 A Stage Combat I 2 - TH 109 A/B Speech for Actors I-II 2 2 TH 109 A/B Speech for Actors I-II 2 2 TH 115 A/B Movement for Actors 1 1 TH 114 Mask Characterization 1 - TH 119 A/B Business of the Arts 1 1 TH 115 A/B Movement TH 122 A/B Music Skills I-II 2 2 for Actors I-II 1 1 TH 141 A/B Voice for Musical TH 116 A/B Dance for Actors 1 1 Theater I-II 1 1 TH 119 A/B Business of the Arts 1 1 TH 142 A/B Voice Lesson 1 1 TH 111 Makeup 1 - TH 150 A/B Dance for Musical TH 213 Script Analysis 3 - Theater I-II 1 1 TH 311 A Theater History I - 3 TH 213 Script Analysis 3 - HU 110 A/B First Year Writing 3 3 HU 110 A/B First Year Writing 3 3 Electives - 2 HU 103 A Intro. to Modernism - 3 Freshman Year Total 18 16 Freshman Year Total 18 18

Sophomore Year Sophomore Year TH 203 A/B Acting Studio III-IV 3 3 TH 203 A/B Acting Studio III-IV 3 3 TH 209 A/B Speech TH 209 A/B Speech for Actors III-IV 2 2 for Actors III-IV 2 2 TH 215 A/B Movement TH 111 Makeup 1 - for Actors III-IV 2 2 TH 215 A/B Movement TH 219 A/B Business of the Arts 1 1 for Actors III-IV 2 2 TH 311 B Theater History II 3 - TH 219 A/B Business of the Arts 1 1 HU 103 A/B Intro. to Modernism 3 3 TH 222 A/B Music Skills III-IV 2 2 HU XXX Liberal Arts - 3 TH 241 A/B Voice for Musical Electives 2 2 Theater III-IV 1 1 TH 242 A/B Voice Lesson 1 1 Sophomore Year Total 16 16 TH 250 A/B Musical Theater Dance III-IV 2 2 Junior Year HU 103 B Intro. to Modernism 3 - TH 303 A/B Acting Studio V-VI 3 3 HU XXX Liberal Arts - 3 TH 309 A/B Speech for Actors V-VI 3 3 Sophomore Year Total 18 17 TH 315 A/B Movement for Actors V-VI 2 2 Junior Year TH 319 A/B Business of the Arts 1 1 TH 303 A/B Acting Studio V-VI 3 3 HU XXX Liberal Arts 3 3 TH 312 A/B Musical Theater Electives 3 3 History I-II 3 3 TH 318 A/B Musical Theater Junior Year Total 15 15 Repertory 2 2 TH 319 A/B Business of the Arts 1 1 Senior Year TH 341 A/B Voice for Musical TH 403 A/B Acting Theater V-VI 1 1 Studio VII-VIII 3 3 TH 342 A/B Voice Lesson 1 1 TH 409 A/B Speech TH 350 A/B Musical Theater Dance 1 1 for Actors VII-VIII 3 3 HU XXX Liberal Arts 3 3 TH 415 A/B Movement for Actors VII-VIII 2 2 Junior Year Total 15 15 HU XXX Liberal Arts 6 6 Senior Year Senior Year Total 14 14 TH 441 A/B Voice for Music Theater VII-VIII 1 1 TH 442 A/B Voice Lesson 1 1 TH 450 A/B Musical Theater Dance 1 1 HU XXX Liberal Arts 6 6 Electives 5 4 Senior Year Total 14 13 115 116 Media And

The University

Communication of the College of Arts

117 Information Architecture Minor The College of Media and This minor focuses on the information architecture component of multimedia. Students will develop a sense of navigation Communication and usability concepts and learn to create easy-to-use interfaces and information spaces. The program of study is designed Virginia Red for students mostly interested in developing web sites and Acting Dean CD-ROMs that deliver information clearly and offer a rewarding Laura Zarrow interactive experience. Academic Program Coordinator 215-717-6394 MM 130 Communications Concepts 3.0 credits MM 219 Intro to Multimedia 3.0 The College of Media and Communication has approval of the MM 121 Intro to Interface Design 1.5 Commonwealth of Pennsylvania to grant Bachelor of Fine Arts and MM 221, 222 Interactive Studio I, II 6.0 Bachelor of Science degrees as part of The University of the Arts. MM 320 Advanced Interface Seminar 1.5 Total credits required 15 Programs of Study Multimedia Minor The College of Media and Communication is dedicated to the This minor concentrates on providing a set of skills, concepts integration of art, technology and communication. In recognition and tools for students interested in multimedia as an art or creative of the new artistic opportunities that have recently emerged, and of medium of expression and communication. the importance of technology in many aspects of artistic endeavor, programs in the College of Media and Communication are MU 149 Aural Concepts 3.0 credits characterized by their interdisciplinary nature, reliance on text, the MM 111 Visual Concepts I 3.0 use of appropriate technologies, and on collaboration and other or EM 110 Computer Concepts 3.0 strategies that take advantage of the potential of individual expertise and creative vision in a cooperative setting. MM 219 Intro to Multimedia 3.0 The programs offered in this new college are a BFA degree in MM 310, 311 Multimedia Studio I, II 6.0 Writing for Film and Television and a BFA degree in Multimedia. Total credits required 15 A third program leading to a BS degree in Communication begins in September 1999. Each program is designed as a rigorous sequential course of study, balancing major requirements with New Media Center studio electives and a 42 credit liberal arts core. In addition, the Craig Saper College offers two minors: one in Multimedia and one in Informa- Director tion Architecture. A distinctive aspect of the College is its interdisciplinary nature. The University of the Arts is proud to be a member of the Specialized courses that are unique and essential to the field are New Media Centers, a group of the nation’s leading academic augmented by major courses drawn from various programs institutions and technology corporations dedicated to the advance- throughout the university. Students are encouraged to explore the ment of technology in education. The University of the Arts University’s vast artistic and academic offerings through electives is one of the few art schools world-wide to be welcomed into this and minor courses of study. organization, whose members include New York University, Cornell, MIT, and UCLA. Currently available minors The University of the Arts’ New Media Center (NMC) is a Please note the following guidelines: pair of state-of-the-art digital laboratories that provide Internet 1. A student may not take a major and a minor in Multimedia. access and permit the integration of text, graphics, imagery, 2. Courses applied to the minor may not be used for the animation, music, and sound. While these labs are used by the major, but students may include the minor coursework as part entire University community, the NMC is the primary classroom of their elective credits. for students in the Multimedia program. 3. Students must declare their intent to complete a minor by filling out the Minor Declaration Form in the Office of the Registrar. This form must be signed by the student’s major and minor advisors. 4. Minors are available to undergraduate students only. 5. A portfolio review and interview are required before a student is accepted in the minor.

118 College of Media and As freshmen, students take courses that Communication Faculty Communication offer both an historical and a social perspective to communication, while they Hope B. Chollak Barry Dornfeld learn visual and sound fundamentals Adjunct Associate Professor through introductory studio courses. In the BA, Dickinson College Director 215-717-6470 spring they are introduced to field-based MSEd, PhD, University of Pennsylvania imaging equipment and post-production studios, and begin to produce and critique Barry Dornfeld Media makers occupy a place of great influence and importance in our increas- their own work. Director, Communications The year-long Media Forms and Contexts Associate Professor ingly mediated world. This studio-based Communication Program was designed to course in the sophomore year acts as a BA, Tufts University keystone to the Communication curriculum MA, PhD, University of Pennsylvania reflect the ongoing transformation of the media industries due to the new informa- by integrating production work with an tion technologies, demographic diversity, analytical framework. The course gives Christopher Garvin students exposure to and experience in Director, Multimedia and the emergence of a global society. Upon their graduation, we expect our producing in a broad range of media genres Assistant Professor in the Documentary Media Production, BFA, State University of New York students to be fluent and articulate in a variety of media forms, competent in and Cyber-journalism, and Advertising at Buffalo concentrations. Courses on Media Indus- MFA, The Ohio State University reflective about a range of current occupa- tional settings, and able to think critically tries, Narrative Cinema, and the Arts of the Paul Harrill about how they produce material and about Media round out this intensive year. Senior Lecturer the media’s social and cultural impact. For their junior and senior years, students BA, University of Tennessee Students learn how to create work in one choose one of the three concentrations as of three principal concentrations: docu- the focus of their studio work. In the Dave Hartl mentary, cyber (electronic) journalism, and junior year, intensive production projects Assistant Professor advertising, using the digital tools of the in their chosen area of concentration, which BM, Westchester University trade. While developing professional skills is supported by a shared full-year Writing in these areas, students are exposed to a Workshop, hone students’ articulation Charles Purpura theoretical background in communication skills across genres. In the senior year, Associate Professor and media studies, grounding their students develop a portfolio of media work, New York University production competence in an understand- pulling together their previous training ing of how to think about media and its and interests into a project that can Jeff Ryder place in contemporary culture in a broad represent their abilities to the professional Director, Writing for Film and Television systematic way. Students learn about the world. Additional courses, including an Associate Professor connections between aesthetic approaches internship or summer co-op experience, BA, Rider College and communicated meaning, about history prepare students for professional life beyond in this discipline, about cultural context the University. Craig J. Saper and organizational constraints, and grapple Director, New Media Center Assistant Professor with the ethical considerations that arise BA, MA, PhD, University of Florida in professional practice. Throughout their undergraduate Elizabeth Saperstein training, students cover a range of courses Senior Lecturer in the liberal arts, and choose electives in BS, Emerson College the visual and performing arts. Students’ production work builds on this intellectual Steven Saylor base, beginning with exercises and growing Assistant Professor to intensive projects in the selected area of BA, Franklin and Marshall College concentration. The program stresses digital MA, MFA, Temple University media production across platforms with a sense of reflection about what these new Sloane Seale tools make possible and what they limit. Senior Lecturer BA, Arizona State University MA, The Ohio State University Diane M. Walsh Associate Professor BA, San Jose State University

119 Communication Junior Year Total Credits: 123 Fall Required Courses Credits Freshman Year Concentrations (Students select one) 3 Fall CM 371 Advertising Methods and Required Courses Credits Public Relations I 3 or CM 250 * History of Communication 3 CM 381 Journalism in the Cybernetic Age I 3 or MU 149 A Aural Concepts I 3 CM 391 Documentary Media Production I 3 MM 110 Visual Concepts I 3 CM 310 Interactive Communication 3 HU 103 A Modernism I 3 CM 312 Writing Workshop I 3 HU 110 A First Year Writing I 3 Liberal Arts 3 Fall Total 15 Elective 3 Fall Total 15 Spring Required Courses Credits Spring CM 101 Communication, Culture, Process 6 Required Courses Credits CM 120 Sound Communication 3 Concentrations (Students select one) 3 HU 103 B Modernism II 3 CM 372 Advertising Methods and HU 110 B First Year Writing II 3 Public Relations II 3 or Spring Total 15 CM 382 Journalism in the Cybernetic Age II 3 or Freshman Year Total 30 CM 392 Documentary Media Production II 3 CM 313 Writing Workshop II 3 Liberal Arts 6 Sophomore Year Elective 3 Fall Required Courses Credits Spring Total 15 CM 201 Media Forms and Contexts I 6 Junior Year Total 30 CM 251 * History of Broadcasting 3 CM 252 ** 20th Century Cultural History 3 Liberal Arts 3 Senior Year Elective 3 Fall Fall Total 18 Required Courses Credits Concentrations (Students select one) 3 Spring CM 471 Advertising: Senior Studio I 3 or Required Courses Credits CM 481 Journalism: Senior Studio I 3 or CM 202 Media Forms and Contexts II 6 CM 491 Documentary: Senior Studio I 3 CM 260 Media Industries 3 CM 430 Communication Research 1.5 WM 252 * Narrative Cinema II 3 CM 431 Communication Business Seminar 3 WM 241 Arts of the Media 3 CM 499 Internship/Summer Coop 1.5 Elective 3 Liberal Arts 3 Spring Total 18 Elective 3 Sophomore Year Total 36 Fall Total 15

Spring * Indicates discipline history requirements. Required Courses Credits ** Fulfills 3 credits of the Social Science distribution requirement. Concentrations (Students select one) 3 CM 472 Advertising: Senior Studio II 3 or CM 482 Journalism: Senior Studio II 3 or CM 492 Documentary: Senior Studio II 3 CM 435 Current Issues in Communication 3 Liberal Arts 3 Elective 3 Spring Total 12 Senior Year Total 27

120 to the collaborative projects that will be Multimedia part of their work in the program; • expand students’ understanding of the Christopher Garvin arts and expose them to other members of Director the University’s artistic community; 215-717-6322 • develop a sensitivity to the attributes Chris Saper of traditional media; Director, New Media Center Examples of classes that students may be able to take to fulfill the Freshman Major Multimedia involves the combined use of Option include: text, image, video and animation, and FP 100 A Drawing sound to educate, entertain and communi- FP 190 A 3-D Design cate in a digital, interactive environment. TH 213 Script Analysis The BFA degree program in Multimedia WM 111 Traditions of Narrative prepares creative people for work in the DA 107 Eurythmics complex field of multimedia. Four key DA 210 Kinesiology elements are stressed in the curriculum: MU 107 A Music Theory collaboration, close interaction among arts disciplines, digital fluency, and a commit- Presentation of a portfolio and/or ment to effective communication. Empha- audition and permission of the instructor sis is placed on development of the may be required for entry to these classes. student’s ability to create, organize and refine multimedia products. Working in Work in the sophomore year builds upon the New Media Center on state-of-the-art the foundation of the first year, addressing digital systems, students develop the skills in greater depth components of multimedia to confront new technology and integrate it such as video, sound, writing and content, into their work. This preparation enables and interactivity. A discipline history graduates to take leadership roles in this course reviews the development of multi- rapidly growing field as Internet developers media and analyzes its historical influences. and information managers, software The sophomore year also marks the start of infotainment designers, CD-ROM develop- a series of seven elective courses required for ers, multimedia producers, virtual reality graduation. These elective courses are designers, electronic artists, and hypertext intended to encourage a multimedia and interactive multimedia developers. student, under the guidance of advisors, to In their first year, students are intro- find a secondary concentration that will duced to the basic aesthetic and technical function as a specialty or focus within issues essential to multimedia; these are multimedia, as well as encourage a diversity approached visually, aurally and textually. of interests within the population of the Students develop an understanding of the Multimedia program. history and evolution of multimedia in Students entering the junior year will relation to other art forms, the ability to round out their skills with the addition of work collaboratively, basic design skills, computer animation and more advanced facility in the use of digital tools most work in interactivity, preparing them commonly used in the field, sensitivity to conceptually and technically for the general communications concepts, and integrated work required in the senior year. an understanding of the principles of The last year of the multimedia program interactivity, music, and information allows the student to synthesize the management for multimedia design. Social concepts and techniques taught throughout and ethical issues of new media forms are the program while preparing for entry into also examined. the profession. Full-length projects with self-directed themes enable the student to Freshman students in the Multimedia explore the art of multimedia and its program are required to take an introduc- potential for personal expression and tory or appropriate level class in any other communication. Business skills and major within the University, referred to as industry issues are addressed, preparing the Freshman Major Option. This student’s for practicums which immerse requirement will: them in real work environments and • begin or advance the development of professional issues. skill in a particular creative discipline, enabling each student to bring a specialty 121 Multimedia Junior Year Total Credits: 123 Fall Required Courses Credits Freshman Year PF 316 Computer Animation II 3 Fall MM 310 Multimedia Studio I 3 Required Courses Credits MM 320 Advanced Interface Seminar 1.5 Freshman Major Option 3 Elective 3 MM 110 Visual Concepts I 3 Liberal Arts 6 MM 130 Communication Concepts 3 Fall Total MM 150 Collaboration & Spontaneity Seminar I 3 16.5 HU 103 A Modernism I 3 HU 110 A First Year Writing I 3 Spring Fall Total 18 Required Courses MM 311 Multimedia Studio II 3 Spring MM 350 Business Seminar 1.5 Required Courses Electives 6 MM 111 Visual Concepts II 3 Liberal Arts 6 MU 149 A Aural Concepts I 3 Spring Total 16.5 MM 121 Introduction to Interface Design 1.5 Junior Year Total 33 MM 151 Collaboration & Spontaneity Practicum 1.5 HU 103 B Modernism II 3 HU 110 B First Year Writing II 3 Senior Year Spring Total 15 Fall Required Courses Credits Freshman Year Total 33 MM 410 Senior Studio I 4.5 MM 470 Issues in Multimedia Seminar I 1.5 Sophomore Year Elective 3 Fall Liberal Arts 3 Required Courses Credits Fall Total 12 MU 149 B Aural Concepts II 3 MM 221 Interactive Studio I 3 Spring MM 223 Interactive Narratives 3 Required Courses MM 271 ** Survey of Multimedia 3 MM 411 Senior Studio II 4.5 Elective 3 MM 471 Issues in Multimedia Seminar II 1.5 Liberal Arts * 3 Elective 3 Fall Total 18 Liberal Arts 3 Spring Total 12 Spring Senior Year Total 24 Required Courses PF 322 Media Technology 3 MM 222 Interactive Studio II 3 Elective 3 Liberal Arts * 6 Spring Total 15 Sophomore Year Total 33

* The choice of Freshman Major Option will influence the selection recommended by the faculty advisor for the additional six credits of discipline history option (required as part of the University’s core) in the sophomore year. Discipline History options include: HU l40 A/B Survey of Art History DA ll7 Survey of Music DA 2ll A/B Dance History TH 3ll A/B Theater History WM 251, 252 Narrative Cinema I, II WM 253 History of Television

** Fulfills 3 credits of the discipline history requirement.

122 Writing for Film and Television Junior Year Writing for Film Total Credits: 124 Fall Credits Required Courses and Television Freshman Year WM 321 Advanced Screenwriting I 3 WM 316 Adaptation from Jeff Ryder Fall Credits Non Fiction 3 Director Required Courses HU 411 B Shakespeare or 3 or 3 215-717-6465 WM 111 Trad. of Narrative I 3 HU 413 02 Literature & Film: WM 253 History of Television 3 Shakespeare 3 Writing for Film and Television is an (Discipline History) (fulfills 3 credits of the Lit. distribution) undergraduate program dedicated to the art HU 110 A Freshman Writing 3 Electives 6 of dramatic writing for film and television. HU 103 A Modernism 3 Fall Total 15 The dramatic script serves as the creative WM 251 Narrative Cinema I 3 blueprint for the collaborative creation in Fall Total 15 Spring film and television. The curriculum for the Required Courses program aims to educate and prepare Spring WM 322 Advanced Screenwriting II 3 students for the professional world in this Required Courses WM 341 Acting/Directing unique genre of writing. WM 112 Trad. of Narrative II 3 for Writers 3 A four-year sequence of studio writing WM 252 Narrative Cinema II 3 WM 317 Episodic TV Writing 3 courses act as the cornerstone of the HU 110 B Freshman Writing 3 Electives 6 curriculum. Starting with Traditions of HU 103 B Modernism 3 Spring Total 15 Narrative in the first year, students will HU 264 Modern American History 3 Junior Year Total 30 create their own written work in writing (fulfills 3 credits of the SS distribution) labs equipped with individual computers in Spring Total 15 an intensive workshop environment. In the Senior Year second year, dramatic structure is intro- Freshman Year Total 30 Fall Credits duced, along with scriptwriting and script Required Courses analysis. In the third and fourth years, WM 411 Senior Thesis I 3 students will be writing full-length scripts Sophomore Year WM 315 Adaptation from Fiction 3 in film and television. Adaptation from Fall Credits HU 390 Mass Media and the Arts 3 fiction and nonfiction sources complements Required Courses (fulfills 3 credits of the SS distribution) students’ original written work. To WM 241 Arts of the Media 3 Liberal Arts 3 appreciate the art form, as well as the WM 211 Structure of Drama I 3 Elective 3 collaborative spirit of film and television, MM 223 Interactive Narrative 3 there are courses in film and video produc- PF 210 A Introduction to Film I 3 Fall Total 15 tion, as well as survey courses in the history HU 320 A Western Lit. Masterpieces I 3 of film and television. A strong Liberal (Discipline History) Spring Arts experience in drama, literature, and Liberal Arts 3 Required Courses history gives students the breadth of Fall Total 18 WM 412 Senior Thesis II 3 knowledge required of the professional WM 499 Internship 3 writer. Internships in the senior year will Spring WM 421 Business of the Writer 3 provide students with an exposure to a Required Courses Liberal Arts 3 professional work setting. WM 212 Structure of Drama II 3 Elective 3 WM 213 Scriptwriting 3 Spring Total 15 HU 320 B Western Lit. Masterpieces II 3 Senior Year Total 30 (Discipline History) HU 349 Film Genres 3 (fulfills 3 credits of the HU distribution) Elective 3 Spring Total 15 Sophomore Year Total 33

123 124 The University of the Arts

Course Descriptions

125 AE 531 AE 547 Art Education Multicultural Learning-Arts Program Design and Methods: 3 hours Elementary 3 hours lecture-discussion, AE 200 3 credits The artistic expressions of Africa, Asia, and 3 hours field work Presentation Skills the Americas, the Near and Middle East, and 3 credits 1 credit related societies are examined for their Through review of current literature, lecture, A component of the Introduction to Visual aesthetic and contextual meanings. Cross- discussion, field observation, and mini- Arts Education, this course addresses effective cultural contributions to world art history are teaching, students explore various educational speech and presentation skills for the teacher, recognized through the study of characteristic philosophies and develop and implement artist, and administrator communicating styles and techniques, dynastic periods of art effec-tive classroom curricula based on with groups, classes, or clients. and artists, as well as the relationship of art to prevailing theories of learning and child varied systems of belief. development. AE 201 Prerequisite: AE 201. May be taken by Introduction to Visual Arts Education AE 532 classroom teachers or artists who wish to have a 3 hours Design for Interdisciplinary Learning broader knowledge of methodology and content for 2 credits 3 hours teaching elementary art. A theoretical and practical introduction to 3 credits the entire field of art education. A survey of An introduction and curricular model for AE 548 various aspects of teaching in a variety of integrated learning in which design and the Program Design and Methods: situations and environments, through field visual arts, music, theater, and dance are the Secondary observations and classroom lecture-discus- central means of integrating all disciplines to 3 hours lecture-discussion, sions, including public and private schools provide a more holistic approach to learning. 3 hours field work K-12, as well as specialized and alternative An approach to arts-centered learning 3 credits settings in museum education, early through a design based problem-solving Continuation of AE 547 with emphasis on childhood education, special education (for model is emphasized to solve problems middle and secondary school. handicapped and gifted children), and adult creatively and address issues in all subjects Prerequisites: AE 201 and either AE 547 or education. and at all levels of education. AE 559. AE 550 AE 510 AE 533 Museum Education Practicum Creative and Cognitive Development Art and Inclusionary Education 3 hours 3 hours 3 hours 3 credits 3 credits 3 credits This course is designed to develop skills in This course is designed to develop the This course is designed to provide the full practiced insight and skills needed as a recognizing the developmental stages of scope of methodologies, techniques and children, adolescents, and adults according to professional in a museum environment with innovative strategies needed to teach special all age groups. It provides opportunities for the theories of Jean Piaget, Lawrence education students effectively. Using the arts Kohlberg, Viktor Lowenfeld, and Erick preliminary observations and experience with as a means for adapting to diverse learning professional museum educators and directors. Erickson. In addition, the course will explore methods, the K-12 classroom will be the learning theories of Jerome Bruner, B.F. The seminar is conducted in conjunction with regarded as a dynamic setting for inclusionary the museum visits and guest speakers. Skinner, Howard Gardner, Madeline Hunter, learning. The impact of special needs art and Bernice McCarthy toward understanding Through this process, students develop education will be further realized through dynamic teaching techniques which explore individual difference in creative and cognitive direct school and community engagement: development and learning styles. and interpret information, concepts, and programs and national as well as local cultural values of a museum collection. organizations will be made available to assist Hands-on techniques and experiences with AE 552 in developing field placements. Arranged The Art of Teaching curriculum development and methodology field placement opportunities will include prepare students for research and internships. 3 hours Museum (504) programming and a broad 3 credits range of community resources. AE 530 Teacher preparation and knowledge of Interactive Media for Art and instructional techniques will be addressed, Museum Educators including development of presentation and speaking skills, professional image, teachers’ 3 hours rights and responsibilities, and aspects of 3 credits group processes. The course will explore This course acquaints students with existing cultural and family factors that influence technology and media available for instruc- learning, expectations conveyed by teachers tion to art and museum educators. Students and peer behavior, and techniques of learn to design and create interactive instruction and creativity. A retrospective multimedia projects using Hypercard, analysis of each student’s individual education Director and other software. experience and his/her perceptions of teaching will be explored through interactive simulation of classroom situations and teaching styles. 126 Prerequisite: AE 201 AE 559 AE 615 AE 649 Saturday Practicum Educational Programming for Museums Graduate Project/Thesis 3 hours lecture-discussion, and Alternative Sites 6 credits (or 3 credits per semester for 3 hours field work 3 hours two semesters) 3 credits 3 credits A culminating independent project super- Students are involved in various aspects of the This course is designed for museum educa- vised by a faculty advisor. The project or Saturday Lab School. They observe classroom tors. It prepares them in developing thesis may take either of two distinct forms: instruction, plan and teach lessons, and educational programs and plans for diverse a) an academic thesis presenting original exhibit student work under the supervision of types of museums and alternative learning research in a significant historical, theoretical, cooperating master teachers and through the sites. It exposes the students to current issues or pedagogical question relating to visual arts instruction of a professor in the seminar and trends in museum education such as education, or b) a studio or curriculum portion of the course. project intended for use as a pedagogical tool. interdisciplinary and integrated learning, Prerequisites: AE 602, AE 606, AE 610. Prerequisite: AE 201 multicultural issues, outcome based Other conditions: Students must also complete a education, and DBAE. Methods of interpret- University seminar, and be approved by the Chair AE599 ing artifacts and collections are studied and of Art Education to enroll for the Thesis Project. Professional Writing Intensive used in hands-on situations of lesson teaching. 1 hour AE 658 0 credits AE 632 Museum Internship This course addresses the use of effective Applications of Interdisciplinary 6 credits and cogent written communication for the Learning Taken in a cooperating museum, the teacher, artist, and administrator to classes, 3 hours internship represents full-time employment groups or clients. Students may test out 3 credits equivalency under the mentorship of a of the Professional Writing Intensive course This course practically applies the knowledge professional museum educator. It is intended by taking and passing the Writing gained in Design for Interdisciplinary to provide practical on-site experience in Proficiency Exam. Learning by offering a variety of curriculum which the intern is integrated into the frameworks through which elementary and museum staff, assuming professional-level AE 602 secondary school teachers can implement responsibilities and experience. A University History of Ideas in Art and Museum this curriculum. Students use a variety of professor also observes, advises, and assesses Education models and thematic approaches to develop the student during the internship. 3 hours integrated arts curricula that relates the arts Prerequisites: AE 510, AE 548, ME 500, 3 credits to other disciplines. In keeping with ME 508. Seminar on major issues and trends in the interdisciplinarity in a postmodern aesthetic, history of Art Education, with an emphasis students use a variety of interactive media. AE 659 on child-centered and content-centered Class sessions include lectures, media Student Teaching Practicum theories and the theoretical antecedents of the presentations, discussions, interactive group 5 full days a week for twelve weeks Discipline Based Art Education movement activities, guest presenters, and workshops in 4.5 to 9 credits the university and the community. An intensive experience built around a and outcome-based education. twelve-week student teaching practicum, in This graduate level course is available for which the student devotes six weeks to AE 606 advanced undergraduates with an interest in teaching at the elementary school level and Research in Education: integrated arts. six weeks at the middle or secondary-school Methods and Trends Prerequisite: AE 532 level under the guidance and supervision of 3 hours highly qualified master teachers and Art 3 credits AE 648 Education Department faculty. A graduate education seminar on the Graduate Museum Project Prerequisites: AE 201, AE 547, AE 548, principal approaches to research for art and 3 hours AE 559. museum education. The course examines 3 credits types of research, applications and recent This course requires a culminating research studies for their methodologies and findings, project concerning museum studies, grant writing, and assessment techniques. management, and education. The project is completed in one semester and includes the AE 610 study of research in the field, a team project Graduate Studio Seminar with the Museum Education and Planning program, and an individual project related to 3 hours the student’s main area of interest within the 3 credits museum profession. This course provides A one-semester interdisciplinary seminar preparatory research for the culminating exclusively for arts educators. Topics of broad museum internship (AE 658). concern to artists will be addressed in Pre/corequisites: AE 510, AE 530, ME 500, response to students’ work, assigned readings, ME 508. and occasional public lectures or other art events in the University and the community. Corequisite: Student should be currently enrolled in studio work while taking this course.

127 AT 303 Art Therapy Clinical Aspects of Art Therapy Communication 3 hours AT 300 3 credits CM 101 A survey of Art Therapy in practice is Introduction to Art Therapy Communication, Culture, Process demonstrated through the use of case material 7.5 hours 3 hours from a variety of clinical populations. Issues 3 credits 6 credits of both long and short term treatment are Students explore communication as a social The field of Art Therapy and the possibilities presented, as well as the rich variety of inherent in its scope and approaches are and cultural process by integrating theory interventions at the art therapist’s disposal. and analysis with practical media production introduced. Normal children’s art develop- Prerequisite: AT 302. ment is studied as a foundation for under- projects. The course draws on theory in communication, film and media studies, standing the artwork of clinical populations. AT 401 Art therapists who work within a wide range linguistics, anthropology, and sociology, and Senior Practicum empirical research on communication across of settings are invited to present to the class. cultural settings. Student work includes Prerequisite: HU 181 A/B. 3 hours 3 credits reading, writing of reaction papers, and projects combining observations and analysis AT 301 A field placement is arranged to provide an opportunity for the student to apply of communication processes with digital Social and Group Process classroom knowledge to an experience with a media production. The studio component 3 hours specific clinical population. This practicum begins with basic instruction in the use of 3 credits includes on-site supervision by an art digital media acquisition equipment (audio A course designed to introduce students to a therapist as well as small group supervision and video recorders), and covers logging and basic understanding of social groups, group with Art Therapy faculty. organizing digital material, digitizing, editing, and presentation. Provisional behaviors, group therapy and group art Prerequisite: AT 300, AT 301, AT 302, therapy. The class helps students to better AT 303, and HU 483. identify their own role as well as that of CM 120 others within a group setting. Experiential Sound Communication art tasks are used to underscore course 4.5 hours material and exemplify group dynamics. 3 credits Prerequisite: HU 181 A/B, AT 300. Through analysis of the use of sound and music to create and/or contribute to the effect AT 302 of work in various communication media, Theories and Techniques such as film, TV, and radio, students learn how to articulate concepts through sound, of Art Therapy both alone and in conjunction with visual 3 hours elements. Assignments including listening, 3 credits and recording and interview projects. This course reviews a variety of mental and Students produce a finished audio work for behavioral disorders and explores how each their portfolios. Provisional would be addressed by the general theories and practices in the field of art therapy. CM 201/202 Indicators of emotional, cognitive and Media Forms and Contexts I and II behavioral disturbance as seen in art 7.5 hours productions are introduced. 6 credits Prerequisite: AT 300 or AE 550, HU 384. An exploration of a range of media forms through the perspective of genre. Students are exposed to a broad range of types of media, both mainstream and alternative, and to an analytical framework and practical language for talking about media genres. Students learn how the aesthetic structure of media forms is affected by production practices and audience expectations, and how works create meaning in a variety of contexts. Readings about media genres and screenings of reflexive works examine how specific genres are produced (some of which are done in a critical or satirical vein). Assignments include readings, additional screenings, several brief reaction papers, and a research project. The studio component introduces students to the making of media works in all areas of concentration using digital video, audio, and interactive multime- dia. Student projects expand on issues from the lecture component. Provisional 128 CM 250 CM 260 CM 371/372 History of Communication Media Industries Advertising Methods and Public 3 hours 3 hours Relations I and II 3 credits 3 credits 6 hours Examines how major developments in An investigation of the range of organizations 3 credits communication have influenced history and and economic forces involved in media This sequence introduces students to practical how major historical and social changes have production, covering a range of production and technical approaches in advertising and had an impact on communication and society. models, from mainstream and corporate, to public relations. Students analyze cases from Draws connections between historically public sector, to alternative and draws campaigns in commercial, political and social specific modes of communication and the comparisons with media industries in other advertising to learn about the relationship present. Includes analytical viewing of cultural settings. Issues such as market between aesthetic methods and larger historical and contemporary media works. structure, government regulation, how strategies, including branding, positioning, Students are responsible for weekly readings, audiences are measured and how they behave, and public relations. Provisional participation in class discussion, four short and globalization. Students view examples writing assignments, and an in-class open from broadcast and cable news, advertising, CM 381/382 book exam. Provisional Hollywood and independent cinema, public Journalism in the Cybernetic broadcasting, public access and community- Age I and II CM 251 based media, and new media industries. 6 hours History of Broadcasting Students conduct a small original research 3 credits 3 hours project, using interviews, structured site This sequence explores the evolution of 3 credits visits, and/or library research. Provisional journalism in new media forms. By looking Examines the evolution of broadcasting in the critically at a range of web-based nonfiction twentieth century, using particular historical CM 310 material and through a set of projects where cases to explore such issues as technological Interactive Communication students research, write and design pieces for change and its limitations, media economics, 4.5 hours the on-line audience, the course introduces national media policy, and the evolution of 3 credits them to the possibilities and constraints of “new media.” Students develop a grounding An exploration of the approaches to working in this medium. Provisional in the history of various media forms, and an interactivity across media environments and understanding of how these historical genres. Students grapple with issues of CM 391/392 dynamics shape the present. Provisional aesthetic design, digital interfaces, narrative, Documentary Media Production I and II and layering of information as they inform 6 hours CM 252 work in the documentary, cyber-journalism 3 credits 20th Century Cultural History and advertising concentrations. Provisional Through this sequence, students develop an 3 hours understanding of the aesthetic and pragmatic 3 credits CM 312/313 dimensions of producing documentary video A social history of the twentieth century, this Writing Workshop I and II and audio. Students work through a series of course intertwines public events, intellectual 4 hours structured exercises and critically screen developments, and the changing daily lives of 3 credits examples of work documentary as they learn. people in diverse places. The readings, This sequence focuses on how issues of Provisional discussion, and media materials emphasize writing cut across the various media how communication systems shaped the concentrations. By analyzing the writing of CM 430 course of public and private lives throughout proposals and treatments, narration and Communication Research the world during this century. Provisional voice-overs, the condensation of interview 1.5 hours material into “quotations,” the structuring of 1.5 credits reportage, the writing of criticism, and other Provides a broad framework for understand- elements of writing, students develop a broad ing and analyzing various approaches to set of writing skills and techniques and an communication research. Includes reading ability to adapt information for different and research projects. Provisional audiences. This course builds on and supports students’ work in their areas of CM 431 concentration, and integrates these areas. Communication Business Seminar: Provisional Collaboration and Management 3 hours 3 credits Introduces students to the challenges of working in a range of professional media environments. Explores the collaborative dynamics of group work as a media maker. Provisional

129 CM 435 CR 200 A/B Current Issues in Communication: Crafts Projects I Ethics and Policy 6 hours 3 hours CR 111 3 credits/semester: fall and spring 3 credits Freshman Ceramics A studio course where students make art Explores the changing landscape of ethical 3 hours dealing with crafts issues and concepts. and policy issues in communication from a 1.5 credits Individual project consultations are supple- critical and intellectual perspective. Focuses Through lecture and demonstrations, students mented by lectures, visiting artists, and on emerging issues driven by the shift to learn basic skills such as handbuilding, throw- group critiques. As this course is content- digital media. Students read material from ing, and press molding with an introduction based, students use any/all crafts studios current literature and write reflective papers to loading and firing kilns and mixing clay and during in-class work time and open studio on selected issues. Provisional glazes. While teaching basic skills, problems hours. (Students have access to crafts studios are given with emphasis on developing each where they have completed or are currently CM 471/472 students’ potential for personal expression taking a media-specific course.) Non-crafts Advertising Methods and Public and artistic invention. Freshman students are majors taking this course may also work in Relations, Senior Studio I, II encouraged to participate in the departmental their accustomed media. 6 hours guest lecture series and field trips. 3 credits CR 211 A/B Intensive project-based, two-semester CR 121 Introduction to Throwing seminar, resulting in portfolio of work. Freshman Fibers and Mixed Media 6 hours Provisional 3 hours 3 credits 1.5 credits Beginning studio work with clay using the CM 481/482 This course provides foundation students throwing process and related glazing and Journalism in the Cybernetic Age, with a hands-on studio experience grounded firing techniques. Problems are given with Senior Studio I, II in fabric processes and materials as a means of an emphasis on developing each student’s personal expression. The student receives an 6 hours potential for personal expression and artistic introduction to stamp printing and direct invention. 3 credits painting on fabric, collage, three-dimensional Intensive project-based, two-semester off-loom structures, as well as tapestry seminar, resulting in portfolio of work. CR 212 A/B weaving on frame loom. Guidance is offered Introduction to Handbuilding Provisional in the form of demonstrations, slide presentations, field trips, informal discus- 6 hours CM 491/492 sions, and intensive group critiques. 3 credits Documentary Media Production, Beginning studio work with clay using the Senior Studio I, II CR 131 handbuilding processes of slab, coil pinch, 6 hours Freshman Glass and pressing form molds, plus related glazing 3 credits 3 hours and firing techniques. Problems are given Intensive project-based, two-semester 1.5 credits with an emphasis on developing each seminar, resulting in portfolio of work. This course explores glass as an expressive and student’s potential for personal expression Provisional creative medium. Students work with flat and artistic invention. glass in stained glass techniques. CM 499 CR 221 A Internship/Summer Co-op CR 141 Introduction to Fibers Mixed Media 1.5 credits Freshman Jewelry and Metalsmithing 6 hours Students receive credit for applied work in 3 hours 3 credits communication within an organization or 1.5 credits An introduction to both traditional and company either during a semester or the An introduction to metalwork through several experimental uses of materials and structural summer, and are required to write a short beginning jewelry projects. Students learn processes in the fabric media. Assignments report on their experience. Provisional basic fabrication techniques through simple focus on the exploration of two- and three- hollow construction; movement is approached dimensional forms in preparation for versatile through aspects of linkage and chainmaking; approaches to the fibers media. A range of forming and fabrication are covered as well. off-loom mixed media techniques is covered.

CR 161 CR 221 B Freshman Furniture and Wood Introduction to Color and the Loom 3 hours 6 hours 1.5 credits 3 credits The introduction of wood as a material, basic An introduction to both traditional and joinery theory, and the ability to manipulate experimental uses of materials and structural the material safely with both hand and power processes in the fabric media. Students explore tools. Lecture and demonstration of the properties of wood, the proper use of the the potential of two- and three-dimensional bandsaw and shaping tools, including rasps, forms in preparation for versatile approaches chisels, small hand planes, and gouges. to the fibers media. Loom-woven structures, tapestry, and woven color are covered. 130 CR 222 CR 232 CR 243 Introduction to Dyeing and Off Loom Stained Glass Jewelry Rendering and Design Construction 6 hours 3 hours 6 hours 3 credits 1.5 credits 3 credits Students work with transparent and Students explore two-dimensional pencil and Through a series of developmental assign- opaque glass sheet to produce both two- and gouache techniques effective in creating the ments, students are provided with a solid three-dimensional artwork. Techniques illusion of finished pieces of jewelry. technical and conceptual base in the fabric include glass cutting and grinding, use of Emphasis is placed on the skill development media. Non-loom constructions, color, and caming and copper foil, soldering, enameling, necessary to communicate and evaluate ideas multifiber dye techniques are covered. sandblasting and carving, and kiln-firing. prior to making. Presentation and develop- Typical projects include stained glass windows ment of a portfolio are an integral part of the CR 223 A/B or panels, containers, and shallow bowls. course. Papermaking 3 hours CR 241 A/B CR 245 1.5 credits Body Adornment/Introduction Art for the Body Through slide lecture/demonstrations and to Jewelry 6 hours films, this studio course introduces students 6 hours 3 credits to all aspects of traditional Western and 3 credits This introductory mixed-media course will Japanese papermaking techniques including The student is asked to explore notions of focus on the body as the site-specific locus for pulp preparation, sheet formation, pressing, jewelry and body adornment as means of a variety of art forms. Looking at a range of and drying sheets. Students learn refined, personal expression. Projects range from cultural and historical examples, students professional methods as well as explore the precious jewelry making to adornment that gain an appreciation for the many personal creative versatility of pulp. Classes include: extends into performance. Basic goldsmith and social influences that underlie our casting three dimensional objects and bowls, skills are taught as essential, while three- conception of the human body and how we building subtle relief images in colored pulp dimensional sketching and experimentation construct for it. Studio work in an array of and painting with pulp. Various fibers in mixed media is encouraged. Successful media, with specific emphasis on the use of explored throughout the semester include integration of design, material, and process is metal, paper, fabric and leather. Technical unique ones made from garden vegetables the goal. Projects are designed to provide information includes flat pattern making, and indigenous plants. students with broad exposure to the many piecing and sewing; forming and fabrication; possibilities inherent in jewelry and ornament mixed media construction; systems of CR 227 as related to the human form. attachment, linkage and closure. Emphasis Experimental Costume Design on the students’ ability to generate unique 3 hours CR 242 solutions to the physical challenges imposed 1.5 credits Introduction to Metalsmithing by the human body on the content of attire. An introductory mixed media Fibers 6 hours studio where students transform the body 3 credits CR 249 into a fantastical art form through hat, mask, Metal is an extremely versatile material; Enameling and unconventional garment construction. though hard and durable, it is quite 6 hours Students are introduced to a wide range malleable and easily worked. This course 3 credits of soft materials including fabrics, plastics, covers direct working of metal. Sheet, wire, Enameling is the art of firing colored net, gauze, rugger yarns, paper, etc., bar, and rod are given form by hammering, glass onto metal. The transparent, opaque, and to simple printing/dying fabric embel- seaming, bending, etc. The majority of work and opalescent enamel colors are layered lishment processes. is done in bronze, brass, and copper, though to produce richness, detail, depth, and steel, stainless steel, aluminum, and precious brilliance in this durable and painterly CR 231 A/B metals may be used as well. Emphasis is on medium. Traditional techniques such as Introduction to Glass Blowing basic hand and machine processes conveyed cloisonné, grisaille, Limoges, basse taille, 6 hours through organized, comprehensive, and plique-a-jour, and champleve, as well as 3 credits technical information. The focus is on the contemporary and experimental processes. Through demonstrations, assignments, and possibilities of metal for the contemporary Once they have gained a facility with the tutoring by the instructor, the students are artist. Contemporary issues include the medium, students produce jewelry or small guided toward mastery in offhand blowing. object as sculpture, process as a source jewellike paintings. Blowing of well-balanced functional and material, the importance of surface and detail, nonfunctional forms is emphasized. The and functional objects made by artists. CR 251 aesthetics of contemporary and historical Introduction to Molding and Casting glass are introduced. Demonstrations and 6 hours tutoring guide the students in exploring the 3 credits use of color in glass, two- and three- A course in modelmaking, moldmaking dimensional surface treatment, the relation- and casting techniques, using plaster and ship between volume and skin of forms, synthetic compounds. Emphasis is given to blowing into molds, and working in a variety developing proficiency in slip casting for of scales. The aesthetics of contemporary and use in the artist’s studio and in industry for historical glass are investigated as they relate serial production. to the students’ work. 131 CR 252 CR 261 CR 280 Plaster Workshop Introduction to Wood Introduction to Metal Casting 3 hours 6 hours 6 hours 1.5 credits 3 credits 3 credits An introductory course in modelmaking, An introduction to basic woodworking skills Wax working for jewelry and sculpture, moldmaking, and casting techniques using and processes, including sharpening and rubber molding processes, and lost wax/ plaster and synthetic compounds. This setting up hand tools and machinery, theory centrifugal casting of bronze and (optional) course emphasizes the usefulness of these of solid wood joinery, and construction. In sterling silver and karat golds. Extensive media to designers and artists. addition to building technical skills, there is technical information for students who are emphasis on contemporary and historical design-oriented. Assignments allow projects CR 253 furniture design issues. in all formats (design, one-of-a-kind jewelry, Ceramic Technology fine art, etc.) and students are encouraged to 3 hours CR 277 use the techniques demonstrated innovatively 1.5 credits Fabric Resist and Embellishment and expressively. A lecture and laboratory course designed to 3 hours Students taking the course a second time initiate investigation of basic clay and glaze 1.5 credits choose one aspect of the course (wax carving, materials. The primary intent is for the This course extends the students’ basic color wax modeling, wax impressions, vulcanized student to gain an intuitive understanding of and drawing vocabulary into the realm of rubber molding, etc.) and produce a small ceramic materials, their practical and ancient techniques and tools of Indonesia, body of work investigating that aspect in aesthetic properties, and to develop a series of Japan, and Africa. Fabric dyeing and resist depth. Procedures for jobbing out work to personal glazes ranging from bright gloss to methods covered include drawing and professional contract casters; more experi- matt. Additionally, the nature of clays and stamping with waxes, stitching and binding enced students send some of their work out the relationship among clay bodies, slips, with threads, and more. Students acquire a to be molded or cast. sigallatas and glazes is explored. broader sense of “mark-making,” an understanding of the special color properties CR 281 CR 255 of dyes, and an ability to use non-Western Introduction to Electroforming Large Scale Handbuilding traditional craft methods to create contempo- 6 hours 3 hours rary art fabric. 3 credits 1.5 credits Electroforming is electroplating metal onto This course teaches the fundamentals of CR 278 a nonmetallic surface or object. Metal may be large scale handbuilding in clay. It will Fabric Printing built up on nonporous materials such as wax, address two specific areas. In the first, 3 hours plastic, glass, stone, and lacquered found and building a three dimensional form, students 1.5 credits natural objects. Wax may be removed from learn to use proper clay bodies, how to This course focuses on the fundamental electroformed objects to leave a strong, build interior support systems, building and principles of translating drawings and lightweight, hollow, self-supporting metal drying methods for large work, and moving, photographs into designs and images for shell. Students will work in electroformed loading and firing techniques. The second screen printed fabric, using a fine art copper; assignments are structured to allow phase addresses modular form. Students approach. Exploration of myriad possibilities students to work in accustomed formats and/ learn how to cover large areas with smaller in creating fabric using silkscreen and fabric or combine electroforming with other parts and explore fitting and interlocking pigments. materials and processes. systems of wall relief or free standing form. Problems are given with an emphasis on CR 279 CR 282 developing potential for personal expression Paper Casting Metal Furniture and artistic invention. 3 hours 6 hours 1.5 credits 3 credits CR 256 Students use paper pulp to build up three- This course questions our cultural assump- Ceramics dimensional forms. Molds are made of tions about furniture. Are common furniture 3 hours plaster and other materials. The emphasis forms dictated by functional requirements or 1.5 credits is on paper as a material for the craftsperson arbitrary choices which have become Through lecture and demonstration, students and sculptor. traditional? Metal (steel, aluminum, bronze) learn basic skills such as hand-building, is used for its strength and versatility; other throwing, and press molding with an materials are combined with metal according introduction to loading and firing kilns. to student ideas and interests. Techniques Mixing clay, slips, and glazes are also covered. include bending/forming of rod, tube and plate, oxyacetylene welding, brazing, mechanical fasteners/tap and die, riveting, and light blacksmithing. Typical student projects include small tables, lamps, chairs, outdoor/ public furnishings, and experimental forms.

132 CR 285 CR 322 A/B CR 332 Introduction to Furniture Advanced Fibers Mixed Media Advanced Fusing and Stained Glass 6 hours 6 hours 6 hours 3 credits 3 credits 3 credits This course will present a series of design Through a series of developmental assign- Glass is the vehicle for creative expression problems emphasizing exploration of ideas ments with a conceptual emphasis, and by and aesthetic growth. During the first through drawing and model making. using acquired knowledge from previous semester the students focus on developing a Historic and contemporary examples will be semesters, students are encouraged to explore personal theme in their work under close studied. Fundamental joinery techniques will forms that reveal the inherent physical guidance of the instructor. During the be covered, but the emphasis will be on qualities and potential image-making second semester the students create a design exploration, imagination, and possibilities of fabric. Loom-woven and consistent body of work and present it in a inventiveness. Students will be providing mixed-media fabric techniques are used as small show, and trace the historical and their own materials and some hand tools. appropriate, depending on the student’s contemporary sources of inspiration of their interest in the development of a diverse range work in a written or oral paper. CR 286 of two-dimensional constructions, sculptural Prerequisites: CR 231 A/B and/or CR 232. Wood Carving forms, costume, etc. 3 hours Prerequisites: CR 221 A/B, and/or CR 222. CR 370 A/B 1.5 credits Advanced Throwing An introductory course focused on the CR 329 6 hours development of skills and a survey of Advanced Textile Design 3 credits historical and contemporary precedents. The 1.5 hours Concentration on resolving conceptual and class will cover tools: selection, use, and 1.5 credits formal issues as they relate to individual sharpening; lamination and joinery utilized This course uses the computer in the study of exploration on the wheel. Problems for carving; finishing techniques; materials, woven textile design. The course introduces encourage uniqueness and challenge abilities. choice of woods; letter carving, design and fabric structures from simple, plain, and rib Typical issues include usage and symbolic content. Students will provide their own weaves, through twills, satins, waffle weaves, function, serial production, the table, site- carving tools. double cloth, composite structures, and color oriented applications, and medium to large- effects. Students learn the language of cloth scale use of materials. All problems stress CR 287 through the incremental development of practical as well as aesthetic resourcefulness Low-Tech Furniture structures, first making notation of those with clay on the wheel. Senior craft majors 6 hours structures by hand on point paper, and then taking this course may choose to spend all or 3 credits using various computer software programs to part of their time producing thesis work to Using materials gathered from nature develop a wide range of fabric structures. At supplement the thesis component of the students make chairs, tables, and other least one structure is realized through Crafts Projects III. functional objects with a minimum of weaving on a 32-harness hand-weaving Prerequisites: CR 211 A/B. technical and mechanical procedures. computer loom. Inspired by the design inherent in natural CR 371 A/B materials, branches and twigs, found objects, CR 331 Advanced Ceramics and imaginative thinking, the class conceives Advanced Glass Blowing 6 hours and executes a series of projects, mostly with 3 hours 3 credits simple hand tools. The woodworking 1.5 credits Concentration on resolving conceptual and techniques demonstrated are simple and Glass is considered as an expressive medium, formal issues as they relate to individual straightforward; even the most ten-thumbed, and development toward a personal style is exploration. Problems encourage uniqueness tool-inept, and machine-wary students are encouraged. Students work with hot glass in and challenge abilities. Typical issues include welcome in this class. advanced offhand work, blowing into molds, usage and symbolic function, production, and casting, and enameling, as well as advanced site-oriented applications, and medium to CR 300 A/B stained glass work incorporating blown and large-scale use of materials. All problems Projects II cast pieces on two- and three-dimensional stress practical as well as aesthetic resource- 6 hours stained glass problems. fulness. Senior Crafts majors taking this 3 credits Prerequisites: CR 231 A/B. course may chose to spend all or part of their A studio course where students make art time producing thesis work to supplement dealing with crafts issues and concepts. A the thesis component of Crafts Projects III. continuation of Projects I, work becomes Prerequisites: CR 212 A/B. increasingly student-determined as the dialogue becomes more subjective. As this course is content-based, students use any/all crafts studios during class time and open studio hours. (Students have access to crafts studios where they have completed or are currently taking a media-specific course.) Non-crafts majors taking this course may also work in their accustomed media. Prerequisites: CR 200 A/B 133 CR 380 A/B CR 386 MFA in Ceramics Advanced Jewelry/Metals Advanced Wood 6 hours 6 hours The following courses are open to students in the 3 credits 3 credits summer MFA program only. Each major summer Built upon a basic grounding in jewelry This course covers tools, joinery, methods and studio concludes with an assessment of and concepts and techniques. Lectures, technical materials. Content progresses with increasing planning for the work to be completed as two demonstrations, and conceptual projects vary complexity, involving machining, hand tools, independent studios during the remainder of the from year to year so that those students finishing, and surface treatments. Senior academic year. A winter review weekend will be retaking the course will not find it redun- crafts majors taking this course may choose to scheduled to assess progress of the fall independent dant. The goals of the course are to increase spend all or part of their time producing studio work. the student’s awareness and understanding of thesis work to supplement the thesis jewelry as a component of our culture, aid the component of Crafts Projects III. CR 610 student in the development of a personal Prerequisites: CR 261 and CR 285. Major Studio I aesthetic, and develop the student’s thinking 5 credits and problem-solving abilities. More CR 400 A/B Evaluation of the student’s artistic involve- experienced students are encouraged to focus Projects III ment, projecting and testing options for the on one specialized area of the jewelry field. 6 hours direction of the student’s graduate work. Senior Crafts majors taking this course may 3 credits chose to spend all or part of their time The student selects a topic and produces a CR 611 producing thesis work to supplement the thesis body of work for the Crafts Senior Major Studio II thesis component of Crafts Projects III. Thesis Exhibition. Part of this course is Prerequisites: CR 241 A/B and/or CR 242. 5 credits Senior Seminar, a forum for the discussion of Further exploration of the options, with ideas and issues through student participa- CR 381 A/B increased awareness of theoretical issues and tion, guest lectures, and professional personal vision. Advanced Metals offerings. The modern craft aesthetic is 6 hours examined in terms of late 19th- and 20th- CR 710 3 credits century ideas and issues. Emphasis on the Built upon basic grounding in metalsmithing interdependency of all the arts with an eye to Major Studio III skills. Technical demonstrations and the unique contribution of crafts ideology 5 credits conceptual projects vary from year to year so and practice. Topical discussions encourage Greater focus in the student’s work, with a that those students retaking he course will students to find contemporary relevancy and view to completing the personal repertoire of not find it redundant. The goals of the course validity in an analysis of historical precedents. skills and expression in the medium needed are to increase the student’s awareness of Other topics include: making an artist’s to undertake a thesis project. metal’s possibilities, increase the student’s presentation, resume preparation, writing an metalworking skill, aid in the development of artist’s statement, recordkeeping and taxes, CR 711 a personal aesthetic, and develop the student’s grant writing, and career opportunities. Major Studio IV thinking and problem-solving abilities. Particular attention is paid to the style and 5 credits Senior Crafts majors taking this course may survival techniques of contemporaries Planning and initiation of a sustained body chose to spend all or part of their time working in crafts media. of mature work to be presented in a thesis producing thesis work to supplement the Prerequisites: CR 300 A/B. exhibition during the following summer. thesis component of Crafts Projects III. Prerequisites: CR 241 A/B and/or CR 242. IN 449 Crafts/Fine Arts Internship CR 385 A/B 6 hours Advanced Furniture 3 credits 6 hours Conditions for enrollment: Must be 3 credits enrolled as a junior or senior in a BS or BFA Continuation of CR 285 (Introduction to program; must have a 2.5 cumulative Furniture) involving more complex design GPA; and cannot enroll for more than 18 projects, combinations of objects, and credits, including those earned from the advanced model making and finishing Internship during that semester. techniques. Emphasis on imagination, inventiveness, and depth of content. Senior Crafts majors taking this course may chose to spend all or part of their time producing thesis work to supplement the thesis component of Crafts Projects III. Prerequisites: CR 261 and CR 285.

134 DA 109 DA 116 A/B Dance Improvisation I Fundamentals of Dance I-II 1.5 hours 1.5 hours DA 100 1 credit 1 credit This course comprises breathing and This freshman course deals with basic Rhythm for Dancers centering warm-ups, isolation exercises, and aesthetic considerations of the dance art form. 1.5 hours technical improvisation on movement The first semester examines the nature and 1 credit qualities, including swinging, gliding, forms of dance and care of the body. The This course provides an understanding and falling, rising, slow motion. Students learn second semester allows dance students the experience of rhythm that enables students to to develop choreographic ideas through group opportunity to work with their peers in an hear, feel, count, and notate rhythmic improvisational structures. A continuation of interarts project. structures and enhance sensibility and the creative work of DA 107. Open to Dance majors only. creativity. Open to Dance majors only. Required of all Dance majors. DA 117 DA 111 Survey of Music DA 101 A/B Spanish Dance 3 hours Ballet I-II 1.5 hours 3 credits 6 hours 1 credit This course surveys the history of music from 2 credits A study of the basic techniques of playing ancient to modern, including jazz. Fundamentals of ballet technique including castanets for the Sevillanas, as well as Required of all Dance majors. barre and center floor work. The course development of fundamental skills in serves to introduce and develop basic ballet footwork and handclaps for flamenco. DA 119 technique and vocabulary. Body placement Yoga and alignment is stressed through an DA 113 A/B 1.5 hours understanding and application of these basics. Jazz Dance I-II 1 credit Continuous advancement and development is 3 hours The study of a system of exercises to achieve provided from beginning to advanced levels 1 credit physical and spiritual well-being. throughout this four-semester sequence A presentation of styles designed to broaden (Ballet I-IV). knowledge and technique of concert and Open to Dance majors only. DA 120 theater jazz dance. Classes employ floor Mat Class stretches and center barre as warm-up 1.5 hours DA 103 A/B procedures. Movement patterns emphasize Modern Dance I-II 1 credit simultaneous coordination of multiple The Mat Class is a part of the Pilates-based 4.5 hours rhythm patterns in different parts of the method of exercise. The Mat Class helps 2 credits body. Combinations advance from simple to build strength while maintaining flexibility. Basic technique of modern dance for the complex throughout this four-semester This system of exercises has been used for over development of skills, intellectual under- sequence (Jazz Dance I-IV). 70 years by dancers, musicians and athletes standing, kinetic perception, and maximum Open to Dance majors only. to help them enhance their performance. versatility. Includes barre work, center floor, isolation, falls and recoveries, contractions DA 115 DA 121 and release. Part of a two-year sequence Mime (Modern Dance I-IV). The Alexander Technique 1.5 hours Open to Dance majors only. 1.5 hours 1 credit 1 credit An exploration of the commedia dell’arte, A method for moving with ease and grace DA 107 Kabuki, and twentieth-century techniques Eurythmics which can be used in any situation (ballet, developed by Decroux, Barrault, and jazz, modern dance, and also everyday 1.5 hours Marceau. Emphasis is placed on animals as activities). By releasing unnecessary tension 1 credit the primary key to fundamental movement, in movement, the student learns to avoid A beginning course in dance theory and as well as analysis of human movement, dance injuries or change harmful habits so composition which explores the development including elements of age, environment, body that chronic injuries can heal. of rhythm perception through movement type, and facial features. improvisation. Students receive weekly movement assignments directed toward DA 123 A/B specific rhythm and dance problems. Tap I-II Open to Dance majors only. 1.5 hours 1 credit Basic vocabulary of tap, and development of rhythmically accurate footwork and accom- panying body movements. Open to Dance majors only.

135 DA 124 DA 205 A/B DA 216 African Dance Notation I-II Music for Dancers 1.5 hours 3 hours 1.5 hours 1 credit 2 credits 1 credit The study of the contribution of black dance Notation I is an introduction to the Laban An exploration of various kinds of musical to the development of American dance system of recording dance movement. The materials and literature, from Gregorian through the mastery of the technique. course deals with the study of basic notation chant to New Music, relating the selection of symbols for reading and writing movements music to the creation of dance composition. DA 126 involving steps, arm and leg gestures, turns, Improvisation utilizing different sounds and Dance Ethnology and rhythmic and spatial patterns. Notation instruments. 1.5 hours II comprises intermediate study in reading Prerequisite to Dance Composition (DA 217). 1 credit and writing dance phrases including torso, Open to Dance majors only. A survey of the broad perspectives of dance parts of the limbs, and head. as an expression of culture through investiga- Notation I required of all Dance majors. DA 217 tion of Western and non-Western dance Dance Composition I forms. DA 209 1.5 hours Anatomy for Dancers 1 credit DA 129 1.5 hours The course integrates the improvisational Nutrition 1 credit skills acquired earlier in Eurythmics, 1 hour A study of the structured makeup of the Improvisation, and Music for Dancers. 1 credit human body, and the relationship of body Designed to provide the beginning choreog- The study of nutrition and its application to systems to each other. Included is a study of rapher with the tools needed to structure a food selection, with special emphasis on the the structure and function of the nervous, dance composition in solo and duet forms. nutritional needs of the dancer. pulmonary, circulatory, and digestive systems. Open to Dance majors only. Open to Dance majors only. DA 130 DA 301 A/B Dance Therapy DA 210 Ballet V-VI 1.5 hours Kinesiology 7.5 hours 1 credit 1.5 hours 4 credits An examination of the use of dance move- 1 credit Continuation of DA 201 A/B. ments as therapeutic tools in working with A study of the mechanics of the body in Prerequisite: Junior status. the physically and mentally handicapped. motion based upon the background provided Required of students majoring in Ballet. in Anatomy for Dancers (DA 209). Muscular DA 190 and biomechanical aspects are presented, with DA 303 A/B Language of Music a stress on overuse syndrome and prevention Modern Dance V-VI 1.5 hours of dance injuries. 7.5 hours 1 credit Open to Dance majors only. 4 credits The study of rhythm, melody and harmony, Continuation of DA 203 A/B. tempo, dynamics, and musical forms. DA 211 A/B Prerequisite: Junior status. Required of all Dance majors. Dance History I-II Required of students majoring in Modern Dance. 3 hours DA 201 A/B 3 credits DA 305 A/B Ballet III-IV The study of the interaction between dance Modern Repertory I-II 4.5 hours and the society in which it develops, 3 hours 2 credits emphasizing the changing role and nature of 1 credit Continuation of DA 101 A/B. dance. Dance History I deals with dance A study of contemporary and/or classical Prerequisite: DA 101 A/B. from the Renaissance through Diaghilev’s repertory by resident or guest choreographers Open to Dance majors only. Ballet Russe. Dance History II surveys dance or notators, as well as the viewing, discussion, from pre-World War II to the present. and analysis of great works on video and film. DA 203 A/B Prerequisite: Junior status. Modern Dance III-IV DA 213 A/B Required of Modern Dance majors. 4.5 hours Jazz Dance III-IV 2 credits 3 hours DA 306 A/B Continuation of DA 103 A/B. 1 credit Jazz Repertory I-II Open to Dance majors only. Continuation of DA 113 A/B. 3 hours Open to Dance majors only. 1 credit A study of concert and theater jazz dance repertory by resident or guest choreographers or notators, as well as the viewing, discussion, and analysis of great works in video and film. Prerequisite: Junior status.

136 DA 307 A/B DA 319 DA 326 A/B Ballet Repertory I-II Theater Functions Modern Dance for Non-majors V-VI 1.5-3 hours 1.5 hours 1.5-3 hours 1 credit 1 credit 1 credit The study and performance of dances of the A basic production course dealing with Continuation of DA 203 A/B. For students Renaissance and Baroque periods, followed by concepts of lighting and set design for dance. majoring in Ballet or Jazz/Theater Dance. major classical and modern ballets. Students are required to gain practical Prerequisite: Junior status. Prerequisite: Junior status. experience by working in the theater on Required of Ballet majors. dance concerts during the year. DA 327 A/B Men’s Class I-II DA 308 A/B DA 321 A/B 1.5 hours Dance Pedagogy I-II Pointe I-II 1 credit 1.5 hours 1.5 hours The technical movements of dance frequently 2 credits 1 credit performed by the male dancer. Dance Pedagogy I is an introduction to Basic technique of dancing ballet on pointe. Required of male students majoring in Ballet. current philosophies and practices of teaching Women’s dance variations from the classical May be taken as an elective by other Dance majors. dance, and a historical survey of the role of repertoire. dance in education. The second semester Required of female students majoring in Ballet. DA 328 A/B deals with identification and exploration of May be taken as an elective by other Dance majors. Jazz for Non-majors V-VI basic concepts of teaching dance, and 1.5-3 hours application of these principles to the concrete DA 322 A/B 1 credit development of lesson plans. Improvisation II-III Designed for Ballet and Modern majors. The Open to Dance majors only. 1.5 hours course further develops the vocabulary and 1 credit skills learned in DA 213 A/B. DA 309 A/B Individual improvisations are performed on Prerequisite: Junior status. Partnering I-II themes with objects in restricted or altered 1.5 hours spaces and times. Various structures are used DA 341 A/B 1 credit for group improvisation. Free improvisation Pointe I-II The basic technique of adagio (pas de deux). with live music is stressed. 1.5 hours Students perform major classical works. Prerequisite: Junior status. 1 credit Required of Ballet majors. Required of students majoring in Modern Dance. A course designed to instruct students on the May be taken as an elective by other Dance majors use of the pointe shoe in classical ballet. with permission of the instructor. DA 323 A/B Co-rerequisite: A technique class and permission of Tap III-IV the instructor. DA 311 A/B 1.5 hours Required of all Ballet majors. Jazz V-VI 1 credit 7.5 hours The study and practice of the tap style of DA 345 A/B 4 credits dance from simple rhythmic footwork to Voice I-II Continued development of technique and more complex multi-rhythms and repertory. 1.5 hours various styles as introduced in DA 113 and Required of students majoring in 1 credit 213 A/B. The course progresses from basic to Jazz/Theater Dance. Vocal training for the non-Voice major. complex rhythm and isolation exercises, and Designed to develop the vocal instrument to movement combinations stressing subtlety of DA 324 meet both the musical and nonmusical vocal dynamics, as well as preparation of repertory. Character Dance requirements of the theater. Prerequisite: Junior status. 1.5 hours Required of students majoring in Required of students majoring in 1 credit Jazz/Theater Dance. Jazz/Theater Dance. The course deals with the study of the relationship between ethnic styles of dance DA 401 A/B DA 317 A/B and classical ballet, and the proper technique Ballet VII-VIII Dance Composition II-III for performing national dances stylized for 7.5 hours 3 hours the classical ballet repertory. 4 credits 2 credits Required of students majoring in Ballet. Continuation of DA 301 A/B. Continuation of DA 217. Problem solving May be taken as an elective by other Dance majors Prerequisite: Senior status and analysis of materials through individual with permission of the instructor. Required of students majoring in Ballet. projects. Special emphasis on group choreography. DA 325 A/B Prerequisite: Junior status. Ballet for Non-majors V-VI 1.5-3 hours 1 credit Continuation of DA 201 A/B. For students majoring in Modern or Jazz/Theater Dance. Prerequisite: Junior status.

137 DA 403 A/B DA 417 DA 427 A/B Modern Dance VII-VIII Dance Composition IV Men’s Class III-IV 7.5 hours 3 hours 1.5 hours 4 credits 2 credits 1 credit Continuation of DA 303 A/B. Continuation of DA 317. Senior elective Continuation of DA 327 A/B Prerequisite: Senior status course to assist students in preparation of Required of students majoring in Modern Dance. their senior concerts. DA 428 A/B Open to Dance majors with Senior status only. Jazz for Non-majors VII-VIII DA 408 A 1.5-3 hours Dance Symposium I DA 419 A/B 1 credit 3 hours Dance Production I-II Continuation of DA 328 A/B. For students 3 credits 1.5-3 hours majoring in Ballet and Modern Dance. A course designed specifically for those 2 credits Prerequisite: Senior status students who will be completing their Designed to assist senior students in meeting student teaching requirement in the their graduation performance requirement. DA 445 A/B following semester. The course includes Each student participates in the rehearsal, Voice III-IV observation techniques, source material performance, and technical aspects of the 1.5 hours preparation, and evaluation criteria. Discus- senior graduation concerts scheduled at the 1 credit sions center around the application of dance end of each spring. Students are expected to Continuation of DA 345 A/B. principles to the learning situation. The role take major responsibility for the production Prerequisite: DA 345 A and 345 B of dance teacher is examined. of these programs. Must be taken Senior year. Open to Dance majors with Senior status only. DA 77- Dance Ensembles/Labs DA 408 B DA 421 A/B 3 hours Dance Symposium II Pointe III-IV 1 credit 3 hours 1.5 hours 3 credits 1 credit DA 771 This course is designed to complement the Continuation of DA 341 A/B. Ballet Ensemble actual student teaching experience. Specific Prerequisite: DA 341 A/B. 3 hours situations, problems, and achievements of the 1 credit student teaching process are discussed and DA 422 evaluated. Styles of Jazz DA 773 Must be taken concurrent with DA 410. 1.5 hours Modern Ensemble 1 credit 3 hours DA 409 A/B An exploration of Jazz styles of historic and 1 credit Partnering contemporary Jazz dance artists. 1 credit DA 774 DA 424 A/B Jazz Ensemble DA 410 Contact Improvisation 3 hours Student Teaching 1.5 hours 1 credit 14 hours 1 credit 7 credits Students learn to develop chreographic ideas DA 775 Students teach under supervised direction for through partnered improvisational structures. Senior Ensemble one semester in a public or private school. If Exploration of interactive movement qualities 3 hours placement for student teaching is not within include gravity, leverage, and momentum. 1 credit a school system, arrangements are made for Prerequisite: DA 109 Improvisation I the student to do this supervised teaching DA 776 through local dance studios. DA 425 A/B Tap Ensemble Student Teaching must be taken concurrently with Ballet for Non-majors VII-VIII 3 hours DA 408 B. 1.5-3 hours 1 credit Prerequisite: DA 408 A. 1 credit Continuation of DA 325 A/B. For students DA 411 A/B majoring in Modern or Jazz/Theater Dance. Jazz VII-VIII Prerequisite: Senior status 7.5 hours 4 credits DA 426 A/B Continuation of DA 311 A/B. Modern Dance for Non-majors VII-VIII Prerequisite: Senior status 1.5-3 hours Required of students majoring in 1 credit Jazz/Theater Dance. Continuation of DA 326 A/B. For students majoring in Ballet or Jazz/Theater Dance. Prerequisite: Senior status

138 Dance Extension DA 211 X Intermediate Spanish Dance Courses 1 credit

DA 101 X DA 213 X Beginning Ballet Advanced/Beginner Brazilian 1 credit 1 credit A fundamental ballet technique course for non-dance majors. DA 223 X Advanced/Beginner Tap DA 103 X 1 credit Beginning Modern Dance 1 credit DA 301 X A fundamental modern dance technique Intermediate Ballet course for non-dance majors. 1 credit

DA 104 X DA 401 X Beginning Brazilian Dance Advanced Ballet 1 credit 1 credit DA 111 X Beginning Spanish Dance 1 credit

DA 113 X Beginning Jazz Dance 1 credit A fundamental jazz dance technique course for non-dance majors.

DA 114 X Karate Elective 1 credit

DA 123 X Beginning Tap Dance 1 credit A fundamental tap technique course for non- dance majors.

DA 201 X Advanced/Beginner Ballet 1 credit

DA 203 X Advanced/Beginner Modern 1 credit

DA 204 X Advanced/Beginner Brazilian 1 credit

139 EM 203 Electronic Media Digital Interactive Techniques 3 hours EM 110 1.5 credits This course addresses the development of Computer Concepts computer skills in digital time-based software 3 hours and cyberspace software. Special attention is 3 credits given to interactivity and theories of Designed as both a conceptual and hands-on informational architecture. Technical course that will introduce the student to the expertise and efficient working methodologies foundations of digital processes in the arts. are applied to problems in both individual Experience with word processing, basic and group projects. All software is standard spreadsheet usage, database search tech- to current graphic design industry practices. niques, digital photography, scanning, image Prerequisites: EM 202 or permission of the processing, compositing, and the basics of instructor by portfolio and interview. HTML website development. This course includes an introduction to on-line services EM 210 including Dialog and the World Wide Web. Software includes Microsoft Office, Digital Multimedia Photoshop and PageMill. Assignments in 3 hours each of the software environments as well as 3 credits supplemental readings. The elements of digital multimedia produc- No prior computer experience is required. tion techniques used to create Internet Websites and interactive programs. Hands EM 201 on production experience as well as a perspective on developments in this rapidly Electronic Media/Production I growing field through readings and lectures. 3 hours In the first third of the semester, students 1.5 credits learn to create World Wide Web pages using This course addresses the development of the PageMill program along with some foundation computer skills in image scanning HTML coding. technology, desktop publishing, digital The balance of the semester is dedicated to photographic technologies, and basic output learning the basics of Macromedia Director, procedures. Technical expertise and efficient Quicktime movie production, and Sound Edit working methodologies are applied to 16 to create interactive projects that combine problems which are brought in to the class images, sound, and animation. Emphasis is from other design courses as well as from on clear communication and the creation of both individual and group assigned projects. intuitive interactive interfaces. All software is standard to current graphic Prerequisite: EM 110 or equivilalent introduc- design industry practices. tory course that includes experience with the Prerequisites: Second semester Sophomore status Macintosh operating system and a working in the Graphic Design department. knowledge of Photoshop. EM 202 Electronic Media/Production II 3 hours 1.5 credits This course is an extension of EM 201. It addresses the development of advanced computer skills in image scanning, technol- ogy, desktop publishing, pre-press produc- tion, color, output technology, and digital photographic technologies. Special attention is given to comparative study of output technologies and the translation of the on- screen image to offset lithography. Technical expertise and efficient working methodologies are applied to problems which are brought in to the class from other design courses as well as from both individual and group assigned projects. All software is standard to current graphic design industry practices. Prerequisites: EM 201 or permission of the instructor by portfolio review and interview.

140 FA 324 FA 460 Fine Arts Drawing: Object, Subject, Metaphor Senior Fine Arts Seminar 6 hours 3 hours Fine Arts courses are open on an elective 3 credits 1.5 credits basis as space and experience permits to A studio course that treats the recognition of The artist’s role in historic and contemporary non-Fine Arts majors. meaning and motive in figuration. How is an contexts. Issues surrounding the various image interpreted? What is signified by the purposes of art and how culture deals with FA 205 mode, the format, and the forms presented? artists are explored through discussion with Assignments explore options for investing visiting artists, alumni and faculty. Students Concepts/Works on Paper images with thought and feeling. work toward the acquisition of a professional 6 hours profile in resume, artist statement, and slide 3 credits FA 330 preparation. Discussion of gallery practices This course offers the student an opportunity Drawing: Site-Specific Projects and portfolio presentations cultivate an for idea development, visual perception, and awareness of professionalism and career the organization of experience into composi- 6 hours 3 credits opportunities in the fields of painting, tions. Primary emphasis is on developing printmaking, and sculpture. visual expression, skill in using various Focus on the production of drawings and models of site-specific projects. Issues related Prerequisite: Completion of Junior Studio materials, and growth of critical evaluative coursework. abilities through group discussions and to public art, environmental art, public and private realms, materiality, site selection and critiques. Contour drawing, collage, Xerox IN 449 transfer, book arts, and other experimental site specificity are explored. drawing and printing techniques are Fine Arts Internship explored. Students are encouraged to FA 333 A/B 6 hours combine media. Attitudes and Strategies 3 credits 6 hours Opportunities to apprentice to practicing 3 credits artists, gain gallery experience, work with FA 222 A/B nonprofit organizations which lead to practical Drawing: Form and Space A studio-criticism course that focuses on the issue of artistic strategy as it applies to the experience and knowledge about the field. 6 hours creation of art. Assignments attempt to aid 3 credits students in recognizing their own and An introduction to the issues of drawing, alternative tendencies through projects that including perception, analysis, invention, are made to reflect attitudes like expression- and experimentation. A variety of thematic ism, idealism, mathematical systems, ideas, structural possibilities, and imaginative decoration, naturalism, etc. interpretations are explored. Students are Required of Fine Arts majors, open as an elective. exposed to a wide spectrum of precedents in the history of drawing and are encouraged to enlarge their working definitions of how form FA 424 and space can be effectively expressed. Drawing References 6 hours FA 223 3 credits Introduction to Figure Modeling Advanced issues focusing on the relationship between a given work and its references and 6 hours resources, whether they be historical, cultural 3 credits or personal, and from nature, text, or other Modeling from life for the beginner, stressing art. Emphasis on the manner in which a direct observation, eye-hand coordination, reference or resource influences the outcome and depth discrimination. Both perceptual of a work. This studio course aims at and conceptual skills are developed and connecting the student’s ideas to the larger fundamental studio practices are taught, such context of historical precedent and universal as armature construction, clay utilization, and meanings. modeling techniques. Works are fired in clay Prerequisites: FA 222 A/B, FA 333 A/B. or cast in plaster.

141 MFA in Ceramics, FA 793, 794 Thesis Preparation Painting, or Sculpure Fall and Spring III 3 credits per semester The following courses are open to students in the Once students have completed Major Summer summer MFA program only. Studio III and have been formally declared a candidate by the graduate faculty, they may FA 610 begin independently producing a body of Studio Topics work intended for eventual presentation in a 2 credits, repeatable thesis exhibition following the successful This course brings together students from completion of Major Summer Studio IV. each of the major disciplines to explore studio Work completed during the fall semester is issues common to all visual arts. evaluated at the Winter Critique. During the spring semester, students submit FA 691, 692, 693, 694 a preliminary draft of their artist’s statement Independent Studio for review. Work completed during the Fall and Spring I, II spring semester is reviewed by the thesis 3 credits per semester committee at the start of Major Summer At the conclusion of Major Summer Studios I Studio IV. At this juncture, work focuses on and II and Winter Critiques I and II, the finalizing the thesis presentation and the student and faculty mentor agree on a plan of artist’s statement. Summer IV concludes with work to be pursued during the fall and spring a full slide presentation by students of their off-campus semesters as described in the work in preparation for the thesis exhibition Independent Studio Contract. Working where they will be expected to present independently, students are expected to themselves and their work to the thesis consult with the faculty mentors, to record review committee and in preparation for results of their investigations in a journal of future presentations to galleries, foundations, inquiry, and to submit periodic written and and teaching institutions. visual documentation of their progress during these semesters. Access to off-campus studio FA 795 space during these semesters is necessary as MFA Thesis and Exhibition the intention of this experience is to develop 2 credits a pattern of studio investigation to be The MFA degree certifies that the artist has integrated into the demands of daily life. attained a high level of competence and Students return to campus for a weekend independent judgement in the discipline and Winter Critique of work completed during is qualified to stand with his/her mentors as a the Fall Independent Studio. Following this master artist. The thesis exhibition and evaluation, plans for the Spring Independent statement are intended to serve as a demon- Studio are formulated. Work completed stration of this mastery. With faculty during the spring semester is evaluated at the guidance, the student is responsible for start of the following Major Summer Studio securing an on or off-campus exhibition site, session. curating, planning, and installing their exhibition. The artist’s statement and slide presentation of their work accompanies the exhibition.

142 FP 120 A FP 140 Foundation Two-Dimensional Design Time and Motion 6 hours 6 hours FP 100 A 3 credits 3 credits A focused introduction to the two-dimen- An introduction to the fundamental Drawing sional plane and its elements. The first principles of time-based art: sequence, 6 hours semester defines the terminology and movement, timing, motion design, principles 3 credits sharpens the ability to discern and use the of animation, perception, and concepts of Drawing is approached as a process by which visual elements of point, line, shape, and narrative. Students work in a variety of the student examines and investigates the pattern. These fundamental elements are media using manual, computer, video, and visual world. Line, mark, and shape are studied as independent units and brought body-based approaches. among the drawing elements emphasized in together, supporting and animating one the first semester. With these tools, students another, in a variety of formats. Skills in the FP 190 A examine the form and structure of various use of black and white media such as inks, Three-Dimensional Design subjects while they improve their manual plaka, and acrylic pigments and equipment skills, strengthen their vision, and begin to 6 hours including technical pens, brushes, and 3 credits define their drawing vocabulary. Graphite drafting tools are developed in the first and charcoal pencils and a range of appropriate Introduction to concepts of mass, volume, semester. The visual forces discovered during space, the properties of materials, and the papers are the most frequently used materials. efforts to combine these elements and Historical precedents are discussed, master unique visual qualities of three-dimensional materials define the more complex subject of form. The introduction of three-dimensional works analyzed, and relevant practical the class. information–including the elements of spatial ideas and related terminology is combined with the instruction in the use of materials representation–is assimilated into the flow of FP 120 B class assignments. Focus is on the challenges such as paper, wood, plaster, and clay and the and rewards of developing perceptual skills. Two-Dimensional Design operation of hand and power tools. Students 6 hours develop the practical experiences needed to FP 100 B 3 credits make objects which counteract and respond This course builds on the projects and skills to forces and answer visual requirements. As Drawing established in FP 120 A. The majority of FP the semester progresses, challenges of 6 hours 120 B is devoted to the introduction and assembly, scale, and visual complexity 3 credits extended study of color. The major works of increase. Inventive processes, form genera- Building on the sensibilities, skills, and the semester are based in the use of acrylic tion, and construction are undertaken as information of FP 100 A, students refine paints and require skills of mixing and properties of materials, join with visual goals their perceptual abilities, utilize new media application. Other color mediums such as to develop new forms. Most importantly, such as charcoal and inks and develop collage, pastels, watercolors, and oil sticks are students understand that they have access to a additional drawing strategies. Students also explored. Color theories are discussed, new language as they learn to see, think, and undertake the analysis of complex natural projects requiring tinting, shading, and plan three-dimensionally. objects, sculpt volume with line and tone, toning clarify these basic concepts and master encounter the challenge of drawing the works of color are studied. Ideas developed in FP 190 B human figure, and meet other situations the class are shared with other Foundation Three-Dimensional Design which demand the assimilation of new courses and skills from three-dimensional and information and the application of advanced 6 hours drawing classes are imported to support 3 credits skills. Controlling proportion, building current two-dimensional projects. Represen- volume, engaging the illusion of space, while Building on the skills, language, and tational and nonrepresentational form is sensibilities of FP 190 A, the second semester at the same time developing the desired developed as students integrate past quality of light and illumination are the undertakes more complex projects. Some experience, refine their skills of observation, projects involve the combining of several descriptive goals of the semester. Faculty expand the study of visual forces, and explore bring skills, projects, and information materials and require the assembly of more complex principles of organization. multiple parts. The semester builds in developed in the two- and three-dimensional Prerequisite: FP 120 A. design classes into the service of drawing. complexity exploring the challenges of scale Prerequisite: FP 100 A. and engaging time and movement as part of their conception. The introduction of environmental works, setting in place new principles of three-dimensional organization, researching the order of nature and taking up the challenge of representation in three dimensions. Faculty relate works and share principles with either the two-dimensional or drawing classes and attempt to harvest skills and sensibilities developed in those classes into the service projects in Three-Dimensional Design. Prerequisite: FP 190 A.

143 GD 212 GD 306 B Graphic Design Typography Fundamentals Typography Emphasis 6 hours 6 hours GD 105 3 credits 3 credits The course addresses the basic formal An extension and continuation of GD 306 A. Freshman Graphic Design Projects language of typography and the application of The typographic principles of the grid, 3 hours typographic principles to frame basic text typography, text hierarchies, image 1.5 credits communication messages. Typographic integration, all within the context of a An elective course introducing the Founda- investigations are achieved by both manual multi-page format. tion student to the profession of graphic and digital means. Students must have working knowledge of design and its working processes. The Prerequisite: GD 210 and enrollment in QuarkXpress and basic Macintosh operation classwork begins with directed formal studies EM 201 or permission of instructor by portfolio or be concurrently enrolled in EM 203. and leads to an introductory communication review and interview. Working knowledge of Adobe Illustrator and project. Emphasis on the craftsmanship and Adobe Photoshop is preferred. working methods of the student as well as the GD 213 A Prerequisite: EM 202. GD 306 A or permission breadth and depth of the student’s individual of the instructor by portfolio review and interview. investigative process. Studio lecture/ Design Systems 6 hours demonstrations focusing upon professional GD 310 A case studies and field trips. 3 credits An intensive laboratory where the formal Photographics I GD 210 aspects of composition, organic and geometric 6 hours form, color, symbolic drawing, craftsmanship, 3 credits Letterform Design and processes of conceptualizing are This elective course develops a designer’s 6 hours investigated. Assignments are founded on methodology and viewpoint to achieve both 3 credits directed goals and playful investigation to structure and meaning in photography, and as The analysis and development of letterforms. train the student in areas of selection, self- a way to extend the range of how objects and The norms of weight, proportion, character criticism, set theory, and visual logic. nature can be seen and translated using width, and alphabetic relationships are Prerequisites: Completion of the Foundation photographic processes. The course explores developed perceptually, by hand. This course program, or permission of the instructor by portfolio darkroom techniques, controlled lighting, and stresses the inherent optical relationships that review and interview. studio setups. Students use both traditional exist in the construction of typefaces derived photography and digital software to create from the Latin alphabet. GD 213 B hybrid, photographic images. Extensive Prerequisites: Completion of the Foundation Design Systems studio and darkroom work is required. program, or permission of the instructor by portfolio Prerequisites: PF 211 A and Junior status in the review and interview. 6 hours 3 credits Graphic Design department or permission of the instructor by portfolio review and interview. GD 211 A A continuation of GD 213 A. Further investigation of the visual language of Descriptive Drawing design, culminating in a basic communica- GD 310 B 6 hours tion problem. Photographics II 3 credits Prerequisite: GD 213 A. 6 hours A freehand drawing course based upon 3 credits observation and analysis of the underlying GD 306 A An upper-level elective studio in photography. structure and form of man-made and natural Typography Emphasis Students undertake self-initiated projects objects. Logical representation and problem to explore various applications of the solving are emphasized. A visual vocabulary 6 hours 3 credits constructed photograph. The designer’s of line, shape, value, texture, and spatial perspective and working process are used to organization are addressed to develop This course investigates and defines basic principles of typography in a communication focus the communication aspects of the drawing as a methodology for research and imagery. Past topics have included medium- invention. context. Directed research based upon typographic norms addresses the issues of and large-format cameras, advanced studio lighting, and advanced printing and GD 211 B informational hierarchies achievable through visual form and structure as well as the darkroom techniques. Extensive studio and Descriptive Drawing editorial and expressive potentials of darkroom work. Traditional and digital 6 hours typography. Coursework uses traditional and media can be explored. 3 credits digital technologies. A continuation of GD 211 A. A freehand Students must have working knowledge analytical drawing course that addresses of QuarkXpress and basic Macintosh organic form and objects from nature. operation or be concurrently enrolled in EM Drawing skills are developed to sketch and 202. Working knowledge of Adobe research visual concepts, as well as to use the Illustrator is preferred. medium for the invention of original images Prerequisites: EM 201. Junior status in the in upper-level courses. Graphic Design department, or permission of the instructor by portfolio review and interview.

144 GD 311 A GD 316 A GD 411 A Communications Studio Drawing Applications I Design Studio 6 hours 6 hours 6 hours 3 credits 3 credits 3 credits Developing an understanding of visual The use of drawing as both an expressive and A wide-ranging exploration of the connec- relationships and how to use them to create an informational vehicle to solve communica- tions between image and text, and symbolic visual impact and clarity while solving tion problems. Formal issues of composition, and narrative imagery, supported by studies communications problems. Invention, selection, and color as well as the conceptual in semiotics, information theory, and research intuition, and discovery combined with issues of narrative, sequence, and representa- methodology. Both traditional and computer logical thought and thorough preliminary tion are focused towards the communication technologies within a thorough research research. Special attention is given to of ideas, emotions, and information. process. Preliminary research and definition refining the student’s perceptual abilities, Prerequisites: GD 211 A/B or permission of the of a self-generated degree project is under- hand skills, and the integration of various instructor by portfolio review and interview. taken by Graphic Design majors in this course. media. Use of both traditional and computer Students should have expertise in technologies. GD 316 B QuarkXpress or Aldus PageMaker, Students must have working knowledge Drawing Applications II Adobe Illustrator or Aldus Freehand, and of Adobe Illustrator, basic image scanning, 6 hours Adobe Photoshop. and basic Macintosh operation or be 3 credits Prerequisites: Senior status in the Graphic Design concurrently enrolled in EM 202. An upper-level elective drawing course in department or by permission of the instructor by Prerequisites: EM 201. Junior status in the which students initiate individual projects portfolio review and interview. Graphic Design department or by permission of the which use drawing as the primary medium to instructor by portfolio review and interview. solve communications problems. Various GD 411 B media, mixed media, and hybrid images are Design Studio: Senior Degree Project GD 311 B explored in a thorough research-oriented 6 hours Communications Studio design process. Connection between formal 3 credits 6 hours issues and communication effectiveness This course develops a self-generated degree 3 credits is stressed. project involving research, proposals, complete A continuation of GD 311 A, concentrating Prerequisites: GD 316 A or permission of the design formulation, and final presentation. on the development of color, sensitivity, and instructor by portfolio review and interview. Topics are reviewed by a panel of faculty in perceptual abilities within a communications Graphic Design, with projects reviewed by an context. A working process that develops GD 322 outside critic midway through the prelimi- invention through logical thought and Three-Dimensional Graphic Design nary stages of development. This course uses intuition is applied to communication 6 hours both traditional and computer technologies problems. Use of both traditional and 3 credits within a thorough research process. computer technologies. This elective course explores the design of Students should have expertise in Students must have working knowledge messages in spatial environments. Investiga- QuarkXpress or Aldus PageMaker, of Adobe Illustrator, basic image scanning, tion of the relationship between the commu- Adobe Illustrator or Aldus Freehand, and and basic Macintosh operation or be nication of messages within the context of Adobe Photoshop. Experience in concurrently enrolled in EM 203. scale, surface texture, light modulation, Macromedia Director is desirable. Prerequisites: EM 202, and GD 311 A. and their application to three-dimensional Prerequisites: GD 411 A, and GD 412 A. form, combine both experimental and GD 313 practical criteria. Although traditional GD 412 A Color Studies methods of conceptualizing are used within a Problem Solving 6 hours thorough visual process, extensive computer 6 hours 3 credits work is involved. 3 credits This course addresses color concepts Students should have expertise in Approaches to solving communications developed deductively from nature and QuarkXpress or Aldus PageMaker, Adobe problems of diverse character and increasingly inductively thorough experimental, percep- Illustrator or Aldus Freehand, and Adobe practical application. The course assumes a tual analysis. A communication problem in Photoshop. high level of formal competence and places which color is the prominent vehicle is solved Prerequisites: Junior status in the Graphic Design special emphasis on working within technical in a thorough research process. Diverse department or permission of the instructor by and time constraints by developing clear and media are explored. Applications may use portfolio review and interview. concise thought. This course uses both two-and three-dimensional formats. traditional and computer technologies within Prerequisites: Junior status in the Graphic Design a thorough research process. department or permission of the instructor by Students should have expertise in portfolio review and interview. QuarkXpress or Aldus PageMaker, Adobe Illustrator or Aldus Freehand, and Adobe Photoshop. Experience in Macromedia Director is desirable. Prerequisites: Senior status in the Graphic Design department or permission of the instructor by portfolio review and interview.

145 GD 412 B Problem Solving Graduate Seminars 6 hours 3 credits GR 691 A continuation of GD 412 A. This course develops approaches to solving communica- University Seminar: tions problems of broad scope and increas- Structure and Metaphor ingly practical application across varied 3 hours media and formats. Students work within 3 credits technical and time constraints. The course An interdisciplinary seminar in which uses both traditional and computer technolo- students from all graduate programs examine gies within a thorough research process. theoretical issues of structure and metaphor Students should have expertise in in relation to art and design. Topics include QuarkXpress or Aldus PageMaker, Adobe cognition and perception, meaning and Illustrator or Aldus Free Freehand, Adobe representation, and systems of organization Photoshop, and Macromedia Director. and expression. Prerequisite: GD 412 A. (May be taken to satisfy Aesthetics and Art Criticism corequisites for the MAT program.) GD 426 Advanced Typography GR 692 6 hours University Seminar: Art and Design 3 credits in Society This elective course addresses typography as 3 hours both the primary vehicle to communicate 3 credits information and as a support to images. An interdisciplinary seminar in which Assignments range from informational students from all graduate programs examine design, to expressive, content-based prob- theoretical issues relating to the place lems, to intuitive investigations and formal of art and design in society. Topics include experiments. Problems may incorporate both the social role of the artist/designer, public static and moving formats, both print and policy and the arts, issues of post-modernism, non-print environments. Although tradi- and aesthetic and ethical implications tional methods of conceptualizing are used of emerging arts and communications within a thorough visual process, extensive technologies. computer work is involved. (May be taken to satisfy Sociology/Anthro- Students should have expertise in pology corequisites for the MAT program.) QuarkXpress or Aldus PageMaker, Adobe Illustrator or Aldus Freehand, and Adobe GR 791 Photoshop. Experience in Macromedia University Seminar: Art Criticism Director is desirable. 3 hours Prerequisites: Senior status in the Graphic Design 3 credits department or permission of the instructor by An interdisciplinary seminar in which portfolio review and interview. advanced graduate students further examine the nature of image-making and design with particular attention to the theories and applications of criticism.

Graduate students may register for upper level undergraduate liberal arts courses (with permission of the graduate director and director of liberal arts) for graduate credit. Graduate students will be expected to contribute at a higher level in the classroom and will have additional assignments (readings, papers, etc.) in order to be granted graduate credit. Students are advised to select an area of study that broadens or intensifies their background in the arts, education, and related disciplines. Often this work contributes directly to preparation of the graduate project proposal.

146 HU 009 and HU 109 B HU 140 A Liberal Arts First Year Writing Art History Survey I 3 credits 3 credits Note: HU 009 credits do not count toward A survey of Western visual arts (including HU 008 A/B graduation; HU 109 B credits count toward architecture) from the earliest extant English as a Second Language I-II graduation. These courses are designed to examples (the cave paintings) to the 3 credits help students improve reading, writing, and Renaissance. The focus will be on ancient This course prepares students for whom study skills. The emphasis is on the technical Greece and Rome and medieval Europe. The English is a second language to produce the aspects of writing, specifically grammar, arts will be presented in cultural and kinds of writing expected of them on the punctuation, spelling, and paragraph historical context. college level, and to improve their reading construction, along with reading comprehen- Required of all students in PCAD who matricu- and critical thinking skills. This is a two- sion, vocabulary, sentence structure, logical lated as freshmen beginning Fall 1996. semester requirement. HU 008 A provides a relationships, and usage. Students may review of English grammar, sentence work on particular problem areas in the HU 140 B structure, and paragraph development. It Learning Resource Center. Grades in Art History Survey II focuses primarily on the development of HU 009 will be assigned on a pass/no grade 3 credits fluency in writing and reading. The second basis. Students completing HU 009 enter A continuation, from the Renaissance onward semester of this course focuses on the HU 109 B. Students successfully completing to the present day, of the survey of Western different kinds of prose techniques and on HU 109 B will enter HU 110 B in the visual arts begun in HU 140 A. Major styles responding in writing to readings and to the following semester. and periods: baroque, romanticism, realism, work of other students. It has a workshop modernism. The arts are presented in format and engages students in collaborative HU 110 A/B cultural and historical context. learning activities. First Year Writing I Required of all students in PCAD who matricu- Weekly proctored writing sessions with a 3 credits lated as freshmen beginning Fall 1996. minimum of ten essays per semester and A year-long writing course, the theme of tutoring sessions are mandatory. Credits for which is “Artists as Writers.” The course HU 162 HU 008 A or B do not count toward covers the various kinds of writing that artists Individual and Society graduation. On rare occasions, students may may be expected to produce, ranging from 3 credits be exempted from HU 008 B by the informal generative writing to formal critical This course examines the concepts of instructor. HU 008 A and B are graded on a analysis and presentational writing. The “individual” and “society” and how they are pass/no grade basis. A student who student will write about the arts (including related under modern social conditions. It successfully completes the sequence enters the student’s own work), the artist, and the treats society and social institutions as HU 110 A. artmaking process. The first semester focuses fundamental realities and considers the ways on the artist and artmaking, and the second in which social forces affect individual HU 103 A/B semester on the various arts–visual arts, personality and identity. It provides an Introduction to Modernism dance, music, theater, and literature–regarded introduction to the perspective of sociology as 3 credits from various cultural perspectives. distinct from that of psychology. Topics A course with an explicitly multi-arts This course (formerly called “Language and include socialization, social solidarity, viewpoint that explores the historical and Expression”) is required of all freshmen. morality, authority, deviance, individualism, cultural inheritance of the West over the last and freedom. two centuries. The first semester concentrates HU 130 A/B on the period 1776-1914 and examines the French I HU 181 A complex movements known as romanticism 3 credits Child and Adolescent Psychology and realism; the second semester covers the Study of the basic elements of French 3 credits next half-century of high modernism and its grammar through conversation and drills This developmentally oriented course focuses consequences. derived from readings of easy modern prose upon Erikson’s psychosocial stages of life Required of all freshmen. and from a cultural reader. from birth to adolescence. Major topics include pregnancy, the birth process, and the HU 131 A/B physical, intellectual, emotional, and social German I development of the child. Family life and 3 credits parent-child relationships are also examined, A one-year course of basic grammar. The aim with particular attention given to the impact of the course is to develop the reading, of our social institutions upon parents writing, and speaking skills of the first-year and children. German student.

HU 132 A/B Italian I 3 credits This course covers conversation about everyday Italian life and culture and basic grammar through reading of Italian prose.

147 HU 181 B HU 213 HU 219 Adult Psychology World Drama Children’s Literature 3 credits 3 credits 3 credits This developmentally oriented course focuses This course examines some of the most The anonymous oral traditions of world upon Erikson’s psychosocial crises from important periods in dramatic literature literature, which continue to nurture the adolescence to death. Major topics include before the modern period, in both the imagination and sense of identity of children career choice, human sexuality, love, Western and non-Western traditions: today, and the modern tradition of children’s marriage, values, mental health and mental Classical Greece and Rome, India of Kalidasa, literature. The course focuses on children’s illness, aging, and death. Medieval Europe, Japan (Noh and Kabuki), literature as an introduction to the principles Renaissance Italy and Spain, Neoclassical and forms of art and to the role of the HU 201 France, Romantic drama and opera. The imagination in child development. Lyric Poetry relation of drama to ritual as a worldwide 3 credits phenomenon. Emphasis on the relations of HU 221 This semester the theme is five American dramatic styles to the cultures and theaters Forms of Autobiography poets; Walt Whitman, Emily Dickenson, within which they developed, and exploration 3 credits Wallace Stevens, Allen Ginsberg, of the idea of “total theater” in which poetry, Intimate, revelatory explorations of the many and Sylvia Plath. song, dance, and music fuse together. worlds of the self; Hemingway as a young Prerequisite: Completion of HU 103 A/B writer in Paris meeting Fitzgerald, Stein, Introduction to Modernism. HU 216 Picasso; Salinger as Holden Caulfield, The Short Story preppie sage; Freud on himself on psycho- HU 210 A 3 credits analysis; Roth’s Portnoy complaining in the 19th Century American Writers A study of the short story from Poe to the throes of lust; Proust’s great theories of love, 3 credits present. Samplings from the British, the death, and art; Van Gogh as artist and moral The major ideas and trends in nineteenth- American, and the European, with particular thinker in his letters; Greene’s portrait of a century American literature, including attention to the major authors who rein- woman’s obsession with love and God; Andre works by Poe, Hawthorne, Melville, vented the genre. At the end of the semester, Malraux’s Lazarus; Tillie Olsen’s struggles to Dickinson, and James. students look at developments in contempo- write as a housewife; and others. Readings rary fiction: the anti-story, the new wave, the from letters and diaries by the authors of the HU 210 B surreal, the minimal, the funny, the mythic. books. 20th Century American Writers 3 credits HU 217 HU 230 A/B Twentieth-century American writers African-American Literature French II including works by Wharton, Lewis, 3 credits 3 credits Hemingway, Fitzgerald, and Steinbeck. Literature by African-Americans, including Open to students who have completed Langston Hughes, Richard Wright, Ralph French I or have had two or more years of HU 211 Ellison, James Baldwin, Toni Morrison, high school French. Modern French short Women Writers Imamu Baraka, and Gwendolyn Brooks, to stories and a novel, La Princesse de Cleves, by 3 credits name but a few, who have created a distin- the eighteenth-century writer Mme. de la Examination of literature written by women guished body of work that, with a few Fayette. for its uniqueness and, equally important, for exceptions, does not appear in the reading its significance in the mainstream of lists of other American literature courses. HU 232 A/B literature. The course begins with such Although the course will focus on the larger Italian II writers as Jane Austen, Emily Bronte, and question of the role of the African-American 3 credits Virginia Woolf, and concludes with contem- writer in American society, it may also Open to students who have completed porary writers. introduce students to other, less well-known Italian I or have had two or more years of African-American writers (e.g., Frank Yerby, high school Italian. HU 212 Chester Himes) who have made significant Introduction to Mythology contributions to “popular” American HU 240 3 credits literature. Ancient Art This course begins by defining mythmaking 3 credits (a creative process essential to all societies, HU 218 An investigation of the art and architecture past and present) and by analyzing the Superheroes: From Beowulf of the ancient world, concentrating on the different approaches to myth. It moves on to to Spiderman classical art of Greece and Rome, but also examine creation myths from around the 3 credits considering the arts of Mesopotamia and Egypt. world and, finally, a selection of myths from This course examines the most important three different cultures: Greek, Norse, and heroes of popular culture in the Middle Native American. Ages–Beowulf, Roland, Siegfried, and King Arthur. What do these heroes and the epics in which they appear reveal about their culture? How do they compare to modern popular superheroes?

148 HU 241 HU 246 HU 260 A Medieval Art Nineteenth-Century Art Human Origins I 3 credits 3 credits 3 credits The sculpture, architecture, painting, and Painting and sculpture made in the modern An anthropological perspective on the decorative arts of Europe from the early age in the West are examined in an interna- evolution, biology, ecology, and behavior of Christian period in the third century A.D. to tional context. Emphasis is on the works of nonhuman primates from prosimians to great the proto-Renaissance in Italy in the the major French, English, German, and apes. Students are introduced to the fourteenth century, observing the emergence American artists. The variety of subjects principles of evolution and adaptive trends. and flowering of a northern European mystical these artists explored and the new styles they While all primates are discussed, the course Christian vision separate from the monumen- developed as they responded to the world of focuses on the successful terrestrial species of tal classical vision of Greece and Rome. the nineteenth century will be among the Old World monkeys and on the apes—the topics discussed. gibbon, orangutan, gorilla, and chimpanzee. HU 242 A Comparisons and contrasts are made between Northern Renaissance Art HU 250 and among nonhuman primates and our own 3 credits History of Sculpture species regarding diet, locomotion, tool use The painting of the late Gothic illuminators and manufacture, modes of communication, and the fourteenth-century German and 3 credits Flemish Mannerists such as Cranach, A chronological survey of three-dimensional social behavior and social systems, mother- Brueghel, and Bosch. Students investigate art produced from the end of the eighteenth hood and child care, aggression, “cultural” the complex symbolism of northern iconogra- century to the present day. Works by major behavior, and recent trends in nonhuman phy, the new techniques developed, and the artists from Europe and the United States– primate behavior studies. Films are an historical background of a style often called including Auguste Rodin, Pablo Picasso, important part of the course. Three written Northern Realism. Alexander Calder, David Smith, Louise assignments and a final examination. Nevelson, and Christo–will be discussed and HU 242 B compared to the works of earlier artists. HU 260 B Italian Renaissance Art Human Origins II 3 credits HU 251 3 credits The major figures in the artistic centers of History of Industrial Design An introduction to human biological and Italy from Giotto in the fourteenth century to 3 credits cultural evolution, a survey of the major the early work of Michelangelo at the end of A survey of industrial design in the West, evolutionary stages in hominid evolution, an the fifteenth century. The architects, paying particular attention to developments introduction to Paleolithic technologies, and sculptors, and painters of Florence are the in the twentieth century. a comparison of contemporary Stone Age focus, but artists in Venice, Padua, and Rome societies with Paleolithic populations. are discussed as well. HU 253 History of Crafts HU 262 A HU 243 3 credits History of China Baroque Art A survey of the principal movements and 3 credits 3 credits tendencies in Western crafts since the middle The time span is from the earliest days to the The works of the major European artists of of the 19th century. Main topics include the present, with special emphasis on the modern the seventeenth century: Bernini, Rubens, arts and crafts movement, art nouveau, the period and relations with the United States Velasquez, Rembrandt, Poussin, and Vermeer. Bauhaus, the interrelationships among fine and other Western powers. Intellectual and Through the genres of landscape, still life, cultural developments will take precedence and portraiture, all mature by the seventeenth arts, crafts, and design, and postmodernism. century, other artists such as Hobbema, over political and economic history. Ruisdael, Zurbaran, and Hals are also studied. HU 254 History of Communication Design HU 262 B HU 244 3 credits History of Japan Mythology in Oriental Art A survey of two-dimensional design in the 3 credits 3 credits West, with particular attention to develop- The time span is from the earliest days to the An introduction to the symbolism of ments in the twentieth century. present, with special emphasis on the modern mythology in Oriental art. The course Required of all Graphic Design majors. period and relations with the United States investigates myths in the major Oriental and other Western powers. Intellectual and cultures and their basic patterns, functions, HU 255 cultural developments will take precedence and meanings. History of Photography over political and economic history. 3 credits HU 245 A/B Objectives: to provide an introduction to the History of Western Architecture significant photographers and their work in 3 credits the history of the medium, to describe In the first semester, this course surveys the technical developments and their impact, to development of Western architecture from discuss the major visual and aesthetic trends the ancient world of the Greeks and the in the development of photography and their Romans through the Renaissance to the end relationship to art in general, and to describe of the nineteenth century. In the second the larger social context in which photogra- semester, emphasis is on the twentieth phy has developed. century. This course should be taken in Required of all Photography majors. sequence; the second semester assumes knowledge of the first semester’s work. 149 HU 263 HU 268 HU 285 A History of the Italian Renaissance Introduction to the Bible Life Sciences 3 credits 3 credits 3 credits A historical and sociological inquiry into the The main themes of the Bible are explored The study of life as it evolved from unicell- Italian situation from the end of the from a modern, critical, nondenominational ular organisms to humans. Special emphasis fourteenth to the middle of the sixteenth point of view. No knowledge of the Bible is is placed on an exploration of behavior, centuries. Great changes in artistic expres- assumed. Using historical and literary instinct and learning, aggression and human sion and philosophy, philology, and politics analysis, continuities as well as differences nature, and ecology. come together to characterize a new cultural between the Hebrew and Christian testa- atmosphere, a new way of life. Various areas ments are examined. HU 285 B of the peninsula participated, if not with the Physical Sciences same intensity, in this “renaissance”: the HU 270 3 credits great city-states, Milan, Venice, Rome and Introduction to Aesthetics An investigation of astronomy, geology, and most of all, Florence, but also the petty courts 3 credits other physical sciences, including the origin of Urbino, Ferrara, Mantua. The history of An introduction to the philosophy of art. of the universe and solar system and the each state and the mode of life in all strata of After a brief examination of analytic, nature of physical science, matter, and energy. the population. To illustrate the culture of philosophical methods and the history of This course provides a background for that world, we read excerpts from literary aesthetics, a consideration of some of the understanding the problems of the impact of sources of the time and view slides of fundamental problems in aesthetics, such as science on human values. paintings, sculpture, and urban architecture. the intention of the artist, the physical object/aesthetic object distinction, and the HU 286 HU 264 nature and comparison of different kinds of Pseudoscience in Contemporary Society Modern American History media. The relationship between language 3 credits 3 credits and art is central to the course. This course explores the how and why of A study of contemporary developments, values, science in the late 20th century. We will and issues as a product of twentieth century HU 274 examine scientific, near-scientific, and phenomena. The course seeks to understand Introduction to Philosophy pseudoscientific claims for everything from the dramatic changes that have occurred in 3 credits strange creatures like bigfoot and the Loch American society over the last fifty years. A course specifically tailored to students with Ness monster, to miracle cures for diseases no experience in reading philosophy. Several and paranormal phenomena. We will also HU 266 A basic issues are considered, including explore “fringe” science, “government” and History of the Classical World freedom, God, morality, death, mind, “corporate” science, and advocacy science and 3 credits appearance, and reality. In addition to brief see how the relationships between the A survey of the history of ancient civilizations in readings of primary sources, readings of scientist and the sponsor may affect how the Near East and Europe. The focus is on Greek discussions of these issues along with science is done. Provisional and Roman history, mythology, and culture. innovative fiction illustrating salient points. HU 310 HU 266 B HU 282 A The Stories of Chekhov History of Medieval Europe Fundamentals of College Mathematics 3 credits 3 credits 3 credits Anton Chekhov is among the world’s great A survey of the leading themes in the history An introduction to the fundamental writers of short stories. His presentation of of medieval Europe: the classical inheritance, mathematical principles and operations used human relationships is profoundly humane the primacy of the Church, feudalism. in undergraduate courses in the physical and and revealing. The readings include most of social sciences. Topics include sets, logic, Chekhov’s best stories, excerpts from his HU 267 probability, statistics, number theory, algebra, letters, some critical interpretations, and Introduction to Cultural Anthropology and geometry. supplementary material on family life. 3 credits Consideration of the literary merits of his The nature and variation in human culture HU 282 B stories and exploration of what goes on and various explanations of these differences Calculus between the people in them. (i.e., symbolic, functional, and historical). 3 credits This survey of culture in Western and non- An introduction to calculus emphasizing HU 311 Western societies considers religion, the applications of differential and integral Greek Drama mythology, and art; marriage, kinship, and calculus to the physical and social sciences. 3 credits group organization; ecological adaptation, Prerequisite: HU 282 A, equivalent Plays by Aeschylus, Sophocles, Euripides, and economic and political organization; and the college-level mathematics, or pre-college Aristophanes are examined to understand relationship of culture to personality. advanced algebra and geometry. their own integrity as works of art and to Readings and films chosen to illustrate the develop an appreciation of the extraordinary effect of variations of size, environment and achievement of Greek drama. subsistence and social complexity on cultural expression within groups.

150 HU 313 HU 317 A HU 323 Poetry Writing Workshop: Romanticism Arts Criticism Composition and Theory 3 credits 3 credits 3 credits A study of the Romantic movement in A writing course designed to promote Students’ poems are discussed, criticized, England, including the major poets (Blake, understanding and interpretation of the arts revised, and improved. Principles governing Wordsworth, Coleridge, Byron, Shelley, and across a multi-disciplinary spectrum and to the decision to change a poem in various Keats), several novelists (including Bronte’s provide students with the basic tools of ways, the study of poems by American and Wuthering Heights and Mary Shelley’s critical analysis. Group discussion and English poets, the reading of some criticism, Frankenstein), and samplings from the letters selected readings. and concentration on the basic principles of and essays. Some of the dominant Romantic craft are all included. Theories involve themes–the artist as outcast, revolution, HU 325 sound, content, meaning, and purpose of man’s relation to nature–will be addressed. Fiction Writing student poems and of poetry in general. The 3 credits poet’s sense of an audience also figures in HU 318 A workshop course on writing short fiction. the discussion. Literature of the Roman Empire Students will study the elements of creative 3 credits writing, experiment with several forms, HU 314 After a glance at Greek influences, the develop a clear voice, and learn how to Literature and Film course will focus on the literature of classical criticize the work of others usefully. The goal 3 credits Rome. Readings from epic, drama, and is to produce a portfolio of finished pieces. This course explores different subjects lyric, with an emphasis on the interaction through the arts of literature and film. between those classical forms and the culture HU 326 Among the topics treated have been Images that produced them. Contemporary Arts in America of Vietnam, The Thriller, and Science Fiction. 3 credits HU 320 A A continuation of the two-semester Modern- HU 315 A Western Literary Masterpieces I: ism sequence, this course focuses primarily on Modern Drama Ancient through Renaissance contemporary literature (mainly plays and 3 credits 3 credits novels) and contemporary visual art (mainly A study of the modern theater from the end A selection of the greatest literary works of painting and sculpture), with occasional of the nineteenth century to the present. the West, from ancient Greece through the forays into music. Investigation, by studying Students will read some of the world’s best Renaissance. The course focuses on the primary sources, the way various works of art express the contemporary aesthetic in America. playwrights: Ibsen, Strindberg, Chekhov, perspectives and values those works reveal: what questions the different cultures asked; Shaw, Pirandello, Lorca, Brecht, and Beckett. HU 342 Theater trips are part of the experience of how they approached and defined human potential, fate, reality; and, finally, how they this course. Arts of China defined art and the artist’s role–entertainer, 3 credits recorder, shaper, conscience, or hero. HU 315 B Painting, sculpture, architecture, and Required of all students in the Writing for Media decorative arts from the Neolithic period Contemporary Drama and Performance program. (sixteenth century B.C.) to the Ching dynasty 3 credits (eighteenth century A.D.). Special emphasis A study of the experimental developments in HU 320 B on Shang bronze ware, H’an and T’ang today’s theater, both on Broadway and off, Western Literary Masterpieces II: sculpture, and Sung and Ching pottery. The from Waiting for Godot to the present Neoclassic, Romantic, and Modern various styles are related to their historical, moment. Students will read some of the best 3 credits religious, and social background, with known playwrights of our time: Genet, A continuation of Humanities 320 A, particular attention paid to the impact of Beckett, Ionesco, Albee, Pinter, and Shepard, focusing on the same issues but from the Confucianism, Taoism, and Buddhism on as well as some not so well known. Theater seventeenth through the twentieth centuries. Chinese art and architecture. From time to trips are part of the experience of this course. Readings include works by such writers as time, Eastern and Western cultures will be Moliere, Voltaire, Austen, Goethe, and compared to understand better the similari- HU 316 others, and end with two twentieth-century ties and differences between them. American Playwrights writers, D. H. Lawrence and James Joyce, 3 credits who represent two significantly different HU 344 A study of the American theater in the past modern traditions. Avant-Garde Cinema fifty years, looking at the works of such Required of all students in the Writing for Media 3 credits authors as O’Neill, Miller, Williams, Albee, and Performance program. An examination of the art of film and, in and Shepard. Theater trips as well as showings particular, the history of the New American of filmed plays are part of this course. HU 322 Cinema movement (1940s through 1980s); Scriptwriting the mythic structures, mental states, visual 3 credits metaphors, and internal tensions of the This workshop course introduces students to underground film. The focus will be on the the discipline of writing for theater and film. coexistence of avant-garde film and its Focusing on the elements necessary for the industrial or commercial counterparts. The creation of producible scripts, the student course will consider film language in its develops practical skills leading to the relationship to other art disciplines. creation of a short work for stage or screen by the end of the semester. 151 HU 345 HU 353 A HU 360 A Modern Architecture Impressionism Renaissance and Reformation: 3 credits 3 credits 1400-1648 The course investigates modern architecture, The nineteenth-century style known as 3 credits its theoretical premises, and the social context Impressionism is often considered to be the The intellectual and cultural explosion that that generated it. Students will also inquire foundation of European modern art. The heralded the modern era in Western into modern architecture’s legacy: course chronologically investigates civilization. Political, economic, philosophi- postmodern architecture. Impressionism in its historical and cultural cal, religious, and cultural developments. context. The technical and conceptual HU 347 philosophies that underlie its development HU 360 B Arts of Africa will also be considered. Age of Science and Enlightenment: 3 credits 1648-1815 Artistic, religious, sociological, and geo- HU 353 B 3 credits graphic aspects of societies in sub-Saharan Post-Impressionism The dramatic intellectual revolution of the Africa will be studied in order to establish 3 credits Age of Science and the applications of the continuity as well as distinction between Post-Impressionism is chronologically revolution to every province of human their art forms. Black American folk art, an investigated with respect to its historical, experience. The Enlightenment and the extension and transformation of African art, cultural, and aesthetic context. The French Revolution, which are also part of the will also be analyzed. technical and philosophical concepts that transformation of Europe, are studied from underlie Post-Impressionism’s development the perspective of their consequences for the HU 348 are also explored. modern world. American Art from the Colonial Period to 1945 HU 354 HU 361 3 credits Women Artists Islam: Religion and Culture A survey of American art, architecture, and 3 credits 3 credits design, emphasizing the nineteenth and A chronological survey of professional This course will examine Islamic culture as it twentieth centuries. The material is divided female painters and sculptors active in is refracted in various religious and literary into a series of sections or themes and is Western Europe and the United States, from texts by Muslims from Arabia, Iran (Persia), considered in relation to tradition. Each the sixteenth century to the present. The India as well as North America. The course section or theme is studied through the work role played by women artists in earlier ages, will begin with discussions of the centrality of the major artists who best represent it. other nations, and different media will of prophecy and scripture in Islam, followed also be examined. by a perusal of Islamic theology and HU 349 mysticism, and end with a sampling of American Film Genres HU 355 primarily literary prose and poetry pieces 3 credits Dada and Surrealism which provide insights into the multifarious A course, the content of which will vary each 3 credits facets of Islamic civilization. time it is offered, that will consider various The history of the post-World War I film genres and styles in American cinema, antirational movements Dada and Surrealism. HU 362 A/B such as comedy, film noir, the Western, the Since these were literary and political as well American Civilization musical, and the American independent film. as artistic movements, attention is given to 3 credits texts by such authors as Artaud, Breton, An in-depth study of the origins of American HU 351 Freud, Jarry, Rimbaud, and Tzara, as well as society with an emphasis on the particular Electronic Video to works of visual art. political, social, and cultural patterns that 3 credits shaped the course of American development. The history of video as an art form from the HU 357 The first semester surveys the process of early 1960s to the present. Basic film Modern Art settlement, colonial societies, independence, concepts are reviewed in their application to 3 credits the growth of the egalitarian spirit, and the emerging new electronic formats. Video art At the beginning of the twentieth century, Civil War. The second semester studies is examined in all of its aspects–as computer artists responded to new technological forces American society in the modern period. art, installation, and sculpture. The survey and the pressures of mass culture in styles such From the perspective of today, the course explores the variety of styles, genres, and forms as cubism, constructivism, and surrealism– examines the legacy of Reconstruction, the which constitute the distinctive achievement styles that are still being explored by our Industrial Revolution, the Reform Move- of American video art. The videotapes and contemporaries. The course surveys the period ments, the World Wars, and the Cold War. documentation of artists’ projects are 1880-1980, emphasizing the continuity of The factors in the past that have shaped examined and placed within the social and the modern artist’s situation and role. contemporary society are stressed. cultural context in which they were pro- duced. The market forces and the political/ psychological systems shaping the audience and creating an increasingly problematic role for artists are important considerations.

152 HU 363 HU 368 HU 374 Modern Culture Sociology of Politics Personality and Creativity 3 credits 3 credits 3 credits A sociological exploration of various aspects This course will study the interaction of Through readings of works of major of the condition of culture in modern society. political, social, economic, technological, and theorists on the nature of personality and Topics include the nature and rise of mass cultural forces in American society with their creativity, the course poses two major or popular culture and its relationship to resultant impact on the political system. A questions: “What do major theorists have to high culture; advertising and the cultural brief introduction to political science is say about the human personality?” and critique of capitalism; modernism and the incorporated early in the semester. Factors “What do major theorists have to say about avant-garde in the arts; the intellectual’s role such as population profiles, “suburbanites,” what it means to be a creative person?” There in society, and the relationship between elite groups, party organization, elections and are a number of ways of answering these culture and politics. reform movements will be considered. questions and it is not the purpose of the course to choose the “best” answer, but rather, HU 364 HU 369 to put the student in a better position to Sociology of Art Cultural Ecology make his/her own decisions. 3 credits 3 credits An examination of the relationships that exist A review of the various cultural adaptations HU 377 between art and society. Focus on the social found in different environments such as Critical Theory and the Arts influences that shape the creation and deserts, grasslands, circumpolar regions, 3 credits reception of artistic works. Topics include tropical and temperate forests, islands, and Since the 1960’s, the arts have been influenced the social role of the artist; art as a socially high altitude and urban areas. These by “critical theory”; a term loosely designat- organized form of work; the social institu- adaptations include hunting and gathering, ing new developments in linguistics, tions of artistic production, transmission, and fishing, and agriculture (shifting, irrigated, philosophy, and humanistic study. Unlike audience reception; and the understanding of and industrial). The attitude toward the traditional interests in a work of art’s formal art in terms of its social context. environment, population growth, and the use properties, antecedents, or author, critical of labor, technology, energy, and other theory investigates the artwork as a text: an HU 365 A/B resources will be considered. interlocking series of messages, themes, and History and Culture of Latin America codes. The course will investigate those 3 credits HU 370 themes critical theory sees in art texts— The history and culture of Latin America, Greek Philosophy: everything from messages about class, race, including indigenous as well as European Thales through Aristotle and gender to encoded forms of power cultural sources. National distinctions and 3 credits and desire—and consider the reception of the origins of modern society in the area After examining fragments from pre-Socratic these critical ideas by artists throughout the will be developed. philosophers, we consider the writings of 70s, 80s, and 90s. Provisional Plato, including three or four dialogues and HU 366 the Republic. Selections from Aristotle’s HU 382 The City writings on physics, the soul, and aesthetics. Social Psychology 3 credits 3 credits A study of the city in history, the forces HU 372 A survey of major social problems in the which shaped its development, and the Continental Philosophy and West today and an analysis of society’s impact of the city on history. The American Existentialism resistance to implementing the necessary city from the seventeenth century to the 3 credits painful solutions. Students study the current present is used as the model for this study. Continental philosophy examined as a status of major social institutions and their Western alternative to the analytic method. increasing failure to meet and satisfy human HU 367 Following some historical background, we needs. Some of the areas that are studied are Eastern Religions concentrate on the works of Jean-Paul Sartre, mental health and mental illness, human 3 credits both philosophic and literary. values, love and marriage, dreams, and An exploration of Hinduism, Buddhism, preventive programs. Confucianism, Taoism, and Shinto. Each is HU 373 Prerequisite: One course in psychology. studied in its historical and cultural context, Ethics including its development into various 3 credits HU 383 forms over the years and in different places, The history of ethics and the fundamental Personality and Adjustment and its beliefs regarding views of the cosmos, ethical problems that have concerned 3 credits society, the self, and good and evil. In philosophers for the past 2500 years. The The study of personality and the patterns of addition to a text, students read from the study begins with Plato and Aristotle and behavior and predispositions that determine literature of each religion. extend to contemporary analytic philosophy, how a person will perceive, think, feel, and phenomenology, and existentialism. act. The inner life of men and women, the Problems include the “is/ought” distinction, quality of their character, their adjustment to the ultimate objective of life, religious issues, their social milieu, and their potentialities for human rights, justice, and welfare. self-fulfillment are all explored. Special attention is given to adjustment problems of artists in work and in love.

153 HU 384 HU 390 HU 411 B Abnormal Psychology Mass Media and the Arts Shakespeare 3 credits 3 credits 3 credits Human development and abnormal psychol- The purpose of this course is to develop an The dramatic works of the supreme writer of ogy: ego defenses, emotional disorders, understanding of mass media and popular the English Renaissance–Shakespeare. A therapeutic theories, and treatment tech- culture, primarily in the United States since selection of his comedies, histories, tragedies, niques. Clinical diagnosis and classification the 1890s. Various forms of mass media are and romances are read. The course focuses on of mental disorders. defined and the shared techniques by which the plays not only as literary accomplish- Prerequisite: One course in psychology. these forms seek to communicate are ments but also as theatrical performances analyzed. Finally, the values, both aesthetic existing in three-dimensional space. Thus HU 385 and social, embodied in both these media and the course is concerned both with the Concepts of Modern Physics popular culture will be examined in relation parameters of the original Renaissance stage 3 credits to social and economic change. and with modern translations and transforma- A survey of important concepts in twentieth tions of the plays. century physics, including chaos theory, HU 392 cosmology, quantum mechanics, and American Musical Theater HU 412 relativity. Without mathematics, students 3 credits Detective Film and Fiction examine the tumultuous changes that have This course explores aspects and accomplish- 3 credits taken place in the scientific view of space, ments of the American musical theater from An examination of the genre known as hard- time, and physical reality. the twenties to the eighties. It emphasizes boiled detective fiction as it developed in the social, political, and psychological literature and then was extended by feature HU 386 elements which combine from Gershwin to films. Among the authors to be considered Human Genetics: Inheritance, Sondheim to offer entertainment with a are Dashiell Hammett, Raymond Chandler, Variation and Continuity serious message. and Ross MacDonald; among the films are 3 credits This course is not open to students who have “The Maltese Falcon,” “The Big Sleep,” and This course explores the fundamentals of received credit for TH 312 A. “The Long Goodbye.” genetics through the study of our own species, Homo sapiens. The course will HU 393 HU 413 introduce students to the study of inheritance Afro-American Culture Literature and Film: and how molecular, physiological, environ- 3 credits From Text to Screen mental and behavioral mechanisms affect the A survey of some of the most important Afro- 3 credits measurable characteristics of humans from American contributions to American culture, This course explores the conceptual and around the world. Examples and study with special attention to the twentieth technical leaps between the written text and problems will focus on how modern human century and to the arts. Among those whose its transformation to a cinematic text on the populations exhibit these characteristics from work will be discussed are W. E. B. DuBois, screen. Students examine what happens to genetic diseases to unusual physical character- Duke Ellington, Langston Hughes, and plot, characterization, and bound and free istics and what they tell us about the Paul Robeson. description when a narrative text is converted historical, political, and biological context in to an audiovisual presentation. In certain which biological variation occurs and is HU 395 examples, the transformation of narrative maintained. Students will engage in Style in Art structure is traced from the novel to the problem-solving activities in comparative 3 credits screenplay to the finished film. Students gain biology using resources in the area. Provisional An advanced seminar exploring the question insights into the relationships between of style in the literary, visual, and performing written and filmed dialogue, between written HU 388 arts. We will explore theories about description and cinematic mise-en-scene, Perception organicism or periodicity in style and will between the novel’s omniscient narrator and 3 credits examine cases of evolving or metamorphic the film’s voice-over. The structure and function of the senses of style in major artists like Shakespeare, vision, audition, olfaction, gustation, touch, Beethoven, and Picasso. Provisional HU 414 A temperature, kinesthesis, time, and the brain Prerequisite: Strictly limited to academically The Big, Fat Famous Novel and nervous system are considered as they strong juniors and seniors who have maintained a 3 credits relate to perception. “B” average in Liberal Arts. We will read three of the world’s best and most important novels: Tolstoy’s War and HU 411 A Peace, Melville’s Moby-Dick, and Joyce’s Renaissance Literature Ulysses. Each provides great pleasure to the 3 credits serious reader and much material for intense Works by Boccaccio, Machiavelli, Erasmus, discussion. Each novel has the equivalent of Rabelais, Cervantes, Jonson, Calderon, and its own little course, about one month long. others are read to explore the remarkable contribution of these writers and to develop an understanding and appreciation of the Renaissance.

154 HU 414 B HU 419 HU 442 European Novel American Modernists Abstract Expressionism 3 credits 3 credits 3 credits Study of some of the most admired, best In reading and discussing key works of three Abstract Expressionism was the most loved books of the world, written in the American novelists–Fitzgerald, Hemingway, important movement in post-WW II heyday of the novel, the nineteenth century: and Faulkner–the student considers to what American art. This course will survey its Crime and Punishment by Dostoevsky, Madame extent and how they reflect such modernist origins, accomplishments, and decline. Bovary by Flaubert, Wuthering Heights by concerns as style, language, narrative point of Bronte, Great Expectations by Dickens, Portrait view, myth, psychology, and history. In HU 448 A of a Lady by James. This is a course for addition, students will lead discussions of American Art Since 1945 people who love to read. selected short fiction by Hemingway and 3 credits Faulkner supported by research into criticism In 1945, World War II ended and the focus HU 415 A/B conducted at a major research library, and of modern art shifted from Paris to New York Contemporary Poetry will finish the course with an essay on one City. The course begins with Abstract 3 credits additional major work by the writers studied. Expressionism; studies other major American Reading and interpretation of major modern styles, such as pop art and minimalism; and poets–Eliot, Stevens, Williams, Whitman, HU 420 concludes with postmodernist developments Bishop, for example–and some important Major Writers such as performance and decoration by artists. contemporary poets such as Kinnell, Levertov, 3 credits and Wright. Foreign poets in translation are A course that focuses on the life and work of a HU 448 B also part of the course: Milosz, Pavese, single important writer. Among the authors European Art Since 1945 Hikmet, Akhmatova, to name four. Prose by who have received this intense examination 3 credits most of the poets concerning poetry is have been James Joyce and Samuel Beckett. Art since World War II has been dominated included as an important part of understand- by the New York market and by the issue ing and interpreting the readings. Several of HU 421 of abstraction; in Europe, however, artists the poets have written important criticism. On the Nature of Poetry and Art continued to use the human figure as a Analysis of each poet’s style and why the poet 3 credits vehicle for social and ethical concerns, and in has developed it; aesthetic theory and the An exploratory course on the nature of poetry the last ten years their engagement has function of poetry as a social force. and art in which a variety of texts will be become a model for younger artists in both used–literature, philosophy, art, letters, Europe and America. The course examines HU 416 A/B criticism. We contend with some major crafts and book arts as well as fine arts; Contemporary Novel figures, including Wallace Stevens, Rilke, it also makes use of plays and films. 3 credits Eliot, Giacometti, Monet, and Van Gogh. A course for people who like to read. We Contemporary artists such as Sidney HU 449 study ten novels by some of the most Goodman, Warren Rohrer, Ray Metzger, and Diaghilev and the Ballets Russes interesting authors of the past two decades– Tom Chimes are discussed; some may 3 credits including works from North and South themselves join in our discussion. This course will investigate the role of the America and Eastern and Western Europe. impresario Serge Diaghilev and his Ballets Some will be weird, some beautiful, some HU 422 Russes in shaping the course of music and sexy, some funny. American Politics and Culture, 1945-75 dance ca. 1909-1929. Special emphasis on 3 credits the relationships among various artists, HU 417 This course considers the interaction of dancers, choreographers, and writers Lyric politics and culture from 1945 to 1975. including Michel Fokine, Alexandre Benois, 3 credits Course material will include fiction and Pablo Picasso, Jean Cocteau, Vaslav Nijinsky, A study of how contemporary song lyrics poetry, history and journalism, and film. Tamara Karsavina, George Balanchine, Leon developed from the tradition of lyric poetry Bakst, Leonide Massine, and others. Works and folk ballads. Line-by-line analysis of HU 440 to be studied include Igor Stravinsky’s famous lyric poems from literary history will Wagner and the Ring Cycle Firebird, Petrushka, Rite of Spring, Les Noces, be conducted. Popular songs of the past fifty 3 credits and Chloe; Erik Satie’s Parade; Manuel de years are used in the discussion of the A detailed examination of Richard Wagner’s Falla’s The Three-Cornered Hat; Darius problems and challenges of putting words to gigantic four-opera cycle of music dramas, Milhaud’s Le Train Bleu; Francis Poulenc’s music, with special attention paid to Bob The Ring of the Nibelungen, a crowning Les Biches; Serge Prokofiev’s Chout (The Dylan. Other artists include Billie Holiday, achievement of Romanticism. Wagner’s hope Buffoon); and Constant Lambert’s Romeo and Simon and Garfunkel, the Mamas and the to combine all the arts remains a fundamental Juliet. Excerpts from other Diaghilev ballets Papas, the Rolling Stones, Led Zeppelin, and inspiration in film, theater, and performance are also introduced. The course focuses on Stevie Wonder. There is a substantial writing art today. No previous musical training or activities in Paris. requirement: students may elect to study knowledge is assumed. poetry, librettos, or song lyrics or to write original song lyrics of their own.

155 HU 450 HU 456 HU 466, 467 Arts of India Major Artists Comparative Religion I-II 3 credits 3 credits 3 credits Painting, sculpture, and architecture from the The course concentrates on the work of a A study of the world’s major religions Indus Valley civilization of the second single artist or a group of artists. Among the through their historical development, beliefs, millennium B.C. through the different artists who have come under this intense sacred literature, and the works of contempo- periods of Buddhist, Hindu, and Islamic investigation have been Donatello, rary writers. The first semester is concerned dominance to the Rajput painting of the Michelangelo, Rembrandt, and Picasso; with Eastern religions such as Hinduism, eighteenth century A.D. The different art others may be chosen in the future. Buddhism, and Taoism; the second semester styles are related to their historical, religious, deals with Judaism, Christianity, and Islam. and social background. HU 462 American Social Values HU 474 HU 451 3 credits Contemporary Philosophy Arts of Islam The cultural values of any society provide the 3 credits 3 credits fundamental principles around which it is An examination of some of the problems Architecture, architectural decoration, organized and patterned; at the same time occupying today’s philosophers and the calligraphy, book illustration, textile, and they justify the society by investing it with strategies they have devised in approaching ceramic art of the Middle Eastern countries meaning and purpose toward which its them. from the beginning of the Islamic era members orient their actions. This course (seventh to eighteenth centuries A.D.). A attempts to understand the nature and HU 475 study of the impact of Islamic religion on the meaning of American society at the highest Freud and Mahler character of Islamic art and architecture. level of generality through an examination of 3 credits Various regional styles within this unified some of its central value orientations. These This course examines and discusses the visual mode of expression. From time to time include individualism, equality, achievement, theories of Sigmund Freud. All basic areas Islamic and Christian cultures are compared activism, practicality, progress, materialism, will be included, beginning with his work on so as to understand better the similarities and freedom, democracy, and secular rationalism. dreams (c. 1890), aspects of psychoanalysis, differences of the two. The origin and meaning of some of these the nature of the person, and his rather orientations are developed as well as their pessimistic attitude regarding the prospects HU 453 consequences both for the quality of for the survival of the human species. The Arts of Japan American society as a whole and for the class will also listen to the work of the great 3 credits character of individuals trying to live their Viennese composer Gustav Mahler. Freud Painting, sculpture, architecture, and minor lives in it today. and Mahler were not only contemporaries arts of Japan from the Neolithic period to the and soul mates, but Mahler saw Freud as eighteenth century A.D. The emergence and HU 463 a therapist, in what has since become a the development of a unique national style Middle Eastern Arts and Culture famous session. from an art world dominated by Chinese 3 credits influence. The development of painting from An introduction to the arts and culture of the HU 478 the medieval Yamoto-e narrative scrolls Middle East through the perspective of Aesthetics Seminar through the fifteenth century. The evolution anthropology and art history. The course 3 credits of various architectural styles from the great examines design, symbols, and techniques of An advanced course in the philosophic Buddhist temples of the seventh century to Middle Eastern art, particularly painting, problems related to works of art and discourse the majestic castles of the seventeenth architecture, ceramics, glassware, textiles, and about works of art. Students review the century. In sculpture and pottery, the metal work. These arts are examined in their analytic method of philosophic inquiry and technical improvements and the change of social, cultural, and historical context, which discuss the philosophy of Wittgenstein and aesthetic values from the Jomon and Yayoi includes the role of the artist and craftsman other twentieth-century philosophers phases to the porcelains of the seventeenth in Middle Eastern society, the influence of interested in the philosophy of language. A century are analyzed. A brief historical and Islam on ritual and symbol, the influence of central text is Languages of Art by Nelson social background of Japan accompanies the environment on materials and architecture, Goodman. study of the various art styles. Special urban-rural traditions, trade patterns and attention is given to the influence of Zen market organization, and diffusion of design HU 480 Buddhism on Japanese culture. and materials. Psychology of Creativity 3 credits HU 464 The problems involved in defining and The Holocaust attempting to measure creativity. The course 3 credits is developmentally oriented, focusing on The Holocaust is a watershed event in modern relationships between creativity and normal history. This traumatic episode left indelible growth and development, and intelligence marks on Western society, probably for gener- and personality. Problems that the artist ations to come. It was caused by factors that encounters with productivity are explored, as still exist in the world. This course examines well as the values of society toward creativity the history that led to the Holocaust, and will and the artist. attempt to understand what happened and Prerequisite: one course in psychology. what meaning it has for us today. 156 HU 481 A/B HU 492 Physics Vienna and Berlin: 1900-1925 3 credits 3 credits An introductory college physics course. The At the beginning of the twentieth century, first semester covers kinematics, dynamics, Vienna and Berlin were important centers energy, structural analysis, and waves; the during one of the richest periods in the second semester concentrates on a study of cultural and artistic history of the Western light, electricity, and magnetism. Both world. Much of the science and art of this semesters include frequent references to century was given its focus and thrust by the architecture, design, and the fine arts. men of genius working in these two cities. In Competence in algebra is required. this course, students examine the works of Einstein, Freud, Mahler, Schoenberg, HU 483 Wittgenstein, Kafka, and the German Theories of Personality Expressionists. An interdisciplinary course 3 credits involving the visual, musical, and literary This course emphasizes psychoanalytic theory, arts, as well as philosophy. but it also includes behaviorism, humanism, existentialism, and other perspectives. HU 495 Required for Art Therapy students. All Dante in the Modern World others must receive permission from the 3 credits instructor. Dante’s Divine Comedy has been highly Prerequisite: two courses in psychology. influential on art, music and drama from its own time to the present. The shaping power HU 484 of the poet’s journey in his search for answers Educational Psychology to ultimate questions, his quest for order 3 credits and its reflection in his art continue to inspire This course serves as an instruction to reactions from fellow artists. The course Educational Psychology and is designed considers a number of works reflecting this primarily, but not exclusively, for those influence in several media. Concentration is students interested in Dance Education. on the Inferno, but consideration of Paradiso The basic principles of learning theory and and Purgatorio may also be included. education are presented and critically examined. Using a psychosocial orientation, HU 497 a major focus of the course is the study Women and Sex Roles of the developmental stages of the 3 credits human life cycle, and a variety of special An introduction to the history of women and populations, e.g. physical disabilities, to theories of gender. An interdisciplinary medical conditions, mental illness, and course combining history, literature, and the learning disabilities. Considerable attention visual arts. Slide lectures on images of is given to increasing awareness and woman in art, myth, and religion, from understanding of communication, group ancient times to modern. Economic and dynamics and organized behavior. historical factors affecting how women have Provisional lived. Definitions of masculinity and femininity. The nature-nurture debate over HU 485 hormonal differences. The Brain and Behavior 3 credits HU 999 This course is an introduction to the Independent Study organization of the brain and nervous system 3 credits and their interactions with other body Independent study considers a particular issue systems which produce observable behavior. of interest to the student and one or more Topics include brain structure and function, faculty which is not covered in a regular neurological changes over the life cycle, and course. Prior approval by the Director of the effects of malfunctions. Students will Liberal Arts is required. learn about specific brain structures and how they contribute to or produce specific behavioral characteristics. We will explore the neurochemistry of drug addiction, degenera- tive diseases, and psychoactive drugs, as well as other current topics of interest. Provisional

157 ID 220 A/B ID 300 A/B Industrial Design Studio 2: Techniques Studio 3: Projects Studio 6 hours 6 hours ID 113 3 credits 3 credits This studio will assist the student in The first semester introduces problems of Freshman ID acquiring essential two- and three-dimen- design from a highly conceptual point of view 3 hours sional representational skills to support the with an emphasis on user interface, informa- 1.5 credits process of design, including conceptualization, tion technology, and areas of use. In the This course introduces Foundation students production and presentation. It is taught in a second semester, the students apply this to the issues surrounding the industrial collaborative manner; the instructors conduct humanistic understanding to develop more design profession and highlights its impor- projects individually or as a team in order to complex products involving mechanical tance in informing culture and shaping the provide instruction and experiences over a technology and systems. Emphasis is on the way we live. The fundamental skills required wide range of subjects, including the tools, ability to apply the process of design to both to support the process of concept ideation, processes, and languages of conceptual hypothetical and real problems while design development, and presentation of drawing and modeling, rendering and developing an appreciation of meaningful products and furniture are introduced detailing, using both the computer and form and the appropriate use of technology to through in-class exercises, lectures by visiting traditional media as a means to assist design meet human needs. Students discover professionals, and direct involvement in and control production. Students learn to relevant knowledge and apply it to practical relevant activities within the Industrial apply these techniques to design problems problems of design–many brought to the Design department itself. addressed in ID 200 A/B. studio by industry. Visiting experts also bring knowledge of current design, market- ID 200 A/B ID 290 ing, and manufacturing practices into studio Studio 1: Projects Design Issues Seminar projects organized to explore the nature of 6 hours 3 hours different product types in different industries. 3 credits 3 credits Prerequisites: ID 200 A/B, ID 214, The formal introduction to the conceptual Designed to assist the student in developing ID 220 A/B, and ID 290. and practical understanding of design and an understanding of the major issues of three-dimensional problem solving processes. design in modern society. Discussions range ID 312 This studio provides focused fundamental from issues such as the ecological responsibil- Architectonics design instruction and integrated experiences ity of designers to the contributions of 6 hours covering a wide range of subjects including individual designers and design organizations 3 credits the tools, processes and languages of design. throughout the history of the discipline. Visual principles for structuring and ordering Emphasis is on the development of three- Assignments include research and demonstra- architectural space. Introduction to formal dimensional modelmaking skills, problem tion projects that explore ideas and illumi- issues as applied to interior installations and solving, creative thinking and their applica- nate ethical, practical, and moral issues with exhibition design will be developed through tion to problems of design. which designers should be concerned. drawing, model-building skills and other Students prepare information and present representational means such as computer- ID 214 their views on issues through written, oral, aided drafting. This course will develop Materials and Processes Seminar and visual means. concepts through analytical studies of objects/ 3 hours spaces and will culminate in an actual built/ 3 credits altered environment. A hands-on seminar course introducing the student to the nature of materials used in industrial products and the various processes by which they are formed. Films, lectures, and field trips familiarize students with traditional processing of wood, metal, and plastic materials as well as emerging developments in advanced fabrication processes such as injection molding, laser cutting, and stereolithography. Emphasis is on the study of material characteristics and the appropriate use of manufacturing methods. The course includes an introduction to technical information, research, design specification writing, and professional communications.

158 ID 320 A/B ID 400 A/B ID 425 Studio 4: Techniques Studio 5: Projects Studio Advanced Computer-Aided Design 6 hours 6 hours 3 hours 3 credits 3 credits 1.5 credits These courses assist the student in developing In these senior design studio courses, the Students work on advanced CAD software to graphic communication skills using curriculum focuses on a highly critical and learn the basics of high-end modeling, computational media and applying these responsible position in formulating new rendering and animation through extensive skills to both two- and three-dimensional directions into product realization. in-class and homework exercises. Rendering images and presentations. The student is Students are encouraged through critical work involves the generation and control of taught to conceptualize, develop, detail, discourse and research on historical and three dimensional digital models and surface present and communicate design ideas contemporary cultural shifts to formulate attribute specification. Animation includes through graphic design, computer imaging, their own ideology. Investigations into the turntable and flythrough techniques with an three-dimensional computer modeling, basic social, ergonomic and ecological consequences introduction to keyframe procedures. Final animation and interactive design presenta- of product development are followed by a projects conclude with the creation of printed tion. The first semester focuses on integrat- specific program of context, abstractions and and videotaped portfolio materials. ing graphic software and the development of conceptual studies, physical and material Prerequisite: Junior or Senior status in printed presentations. The second semester experimentation, and the research of the Industrial Design department or permission focuses on the development of interactive techniques of construction. Development of of the instructor. digital presentations. manual skills, highly communicative design Prerequisites: ID 200 A/B, ID 214, drawings, sketch models, computer model- ID 490 A ID 220 A/B, and ID 290. ing, prototypes, and one-off objects are all Design Theory Seminar involved in the process. 3 hours ID 326 Industry-sponsored projects of interna- 3 credits Human Factors Seminar tional caliber give opportunities for “client In this industrial design seminar, students 3 hours interaction” from initial contact and will investigate advanced design philoso- 3 credits proposals to final presentations of projects. phies, issues and pedagogy, from a historic as The object of this research intensive course is One semester is dedicated to production well as contemporary international design to develop the ability to apply technology furniture design for the new domesticity. context. Students will study various effectively to meet human needs through the The other semester is dedicated to product definitions of design, will explore design integration of human engineering principles design. A highly academic and theoretical theories and issues, and consider theoretical in the design of products and equipment. thesis project runs simultaneously with a relationships with other applied arts. Human anatomy, anthropometrics, and the highly pragmatic product development studio. Prerequisites: ID 300 A/B, ID 320 A/B, strength of body components are considered, Prerequisites: ID 300 A/B, ID 320 A/B, ID 326, and ID 327. as are sensory systems, human perception, and ID 326, and ID 327. psychology. Lectures are complemented by ID 490 B laboratory experiments designed to teach ID 420 A/B Design Practice Seminar students methods of testing and evaluating Studio 6: Professional Communication 3 hours their own product design concepts in human 6 hours 3 credits terms. Concepts of scientific writing and 3 credits This course exposes the student to industrial reporting are demonstrated through the This studio refines the students’ written, design professional practice through documentation of coursework. verbal and visual presentation skills and discussion, lectures, and research. The Prerequisites: ID 200 A/B, ID 214, assists them in developing communication following subjects are addressed: ID 220 A/B, and ID 290. materials for their senior theses and industry 1. Running a practice. sponsored projects. Intensive group critique 2. Legalities and contracts. ID 327 of individual presentations prepared outside 3. Publications. Design Semantics Seminar of class. Students develop self-promotion, 4. Exhibiting. 3 hours presentation and correspondence materials 5. Client interaction. 3 credits utilizing service bureaus and contemporary 6. Portfolio. This seminar addresses design as a languaging technologies such as digital files, fax and the Visitors representing a broad spectrum of the process of social interaction. Semantic World Wide Web to prepare and transmit design community from across the United principles and design vocabulary are intro- this information. States, including design shop owners, design duced through lectures, weekly readings, Prerequisites: ID 300 A/B, ID 320 A/B, curators from galleries or museums, industrial discussions, and exercises. Students work on ID 326, and ID 327. design entrepreneurs, and copyright lawyers. individual as well as team-based projects to Prerequisites: ID 300 A/B, ID 320 A/B, increase the competence of translating these ID 326, and ID 327. ideas, concepts and principles into design practices, applying replicable design methods towards proposing particular products whose meanings matter and whose use is dominated by facets of human understanding. Prerequisites: ID 200 A/B, ID 214, ID 220 A/B, and ID 290.

159 Master of Industrial ID 625 ID 749 Advanced Computer Applications Masters Thesis Documentation Design 3 credits 6 credits A laboratory/practicum in the use of advanced A tutorial providing the opportunity for ID 600 computing capabilities with emphasis on 3D individual candidates to develop and present ID Seminar: Thesis Research computer modeling, rendering, animation, their thesis in a manner which directly 3 credits and human figure modeling to evaluate and reflects their career objectives. The thesis A seminar focused on the understanding and present design solutions with attention to project and document must exhibit an in- application of research methodologies, collaborative design support systems. depth exploration of an approved topic which techniques, and technologies appropriate to addresses an area of importance to the the career objectives and interests of ID 627 Industrial Design field and contributes to the individual candidates. A comprehensive plan Human Factors: Interactivity body of knowledge pertaining to that area. It for undertaking the Masters Thesis Project is 3 credits may be carried out under industry sponsor- produced in this seminar. A seminar course which addresses human ship, as part of a research project, or behavior through the interaction with independently based. ID 601, 602 manufactured objects, environments and Advanced Design Studio systems, and the ergonomic, functional, 6 credits informational, aesthetic and safety require- The major multidisciplinary studio where ments encountered in the design of these design ideology, process, development, and products for human use. production are emphasized through the integration of critical issues that inform the ID 700 design of products, systems and environ- ID Seminar: Career Development ments. Issues discussed and studied are: 3 credits human experience and lifestyles; cultural and A professional seminar/workshop which political issues; ergonomics; poetics; addresses the individual career interests of semantics; interactivity; imagery and form. each degree candidate especially as it relates The design process will consider above issues to the student’s thesis project. The product in the formulation of a design program; of this course is the formulation of a career conceptual and abstract studies; physical and plan and objectives tailored to each candidate, material investigations; simulated and and the development of a portfolio, resume, physical representation; and the application and other documentation targeted toward the of manufacturing processes. practical application of the candidate’s knowledge and skill. ID 610, 611 Prerequisites: ID 610, ID 611, and ID 710. Project Tutorial I-II 6 credits each semester ID 710, 711 Personalized tutorial to assist the candidate in Advanced Project Tutorial I-II specific topics related to their course of study. 6 credits each semester These courses are the primary studio/ ID 622 practicums in which design concepts are Product Evaluation explored and skills, techniques, tools, and 3 credits products are developed, demonstrated, and A seminar course which is about in-depth tested related to the thesis. Individual analysis and examination of products and weekly meetings are scheduled with faculty systems. The research will lead to a paper and with outside advisors as dictated by describing a particular situation and offering thesis project objectives and sponsorship. A solutions for a better approach to certain faculty-monitored educational practicum in a design problems. These briefings will be professional or industry setting may be presented by the graduate students as arranged to fulfill preplanned project and teaching assistants to undergraduate courses. career objectives. Prerequisite: ID 610.

160 IL 300 A/B IL 303 Illustration Illustration Methods Figure Utilization 6 hours 6 hours IL 100 3 credits 3 credits The development of narrative and conceptual Studies of the figure in narrative contexts are Foundation Illustration imagery, pictorial illusion, space, and their explored, as is work from single and grouped 3 hours combined potential for communication. models, nude and costumed. Concentration 1.5 credits Procedures focus on developing visual on developing compositions and concepts Within the context of the illustration awareness, personal imagery, and conceptual from different and often combined resources. assignments, students are introduced to a directions. Direct drawing situations and Drawing and painting techniques are utilized. variety of media, methods, styles, and photographic reference (existing or student- Prerequisite: IL 302 or approval by instructor. techniques used to create both black and produced) also serves as source material for white, and color illustrations. The course pictorial development. Various media and IL 304 will include conceptual, perceptual, and technical procedures are explored. The history Sequential Format technical problems. The development of of the Golden Age of American Illustration narrative skills, logical steps to problem 6 hours is covered. Assignments and lectures focus 3 credits solving, research, and creative thinking will on the requirements of applied illustration. also be covered. Course focuses on sequential formats. Prerequisites: IL 200 A/B, IL 202 A/B, Potential areas of inquiry include brochures, and PF 209. IL 200 A/B direct-mail pieces, simple animations, slide presentations, multi-page spreads, and Pictorial Foundation IL 301 identity programs. 6 hours Design Methods Prerequisite: IL 301. 3 credits 6 hours Introduction to drawing and painting skills 3 credits IL 310 as they relate to illustration. Objective visual Within the context of design/illustration Children’s Book Illustration perception, clarity in drawing, and technical projects, a basic understanding of how facility are stressed. Students are exposed to 6 hours artwork is reproduced in commercial print 3 credits visual communications, strategies and design media will be developed. Emphasis will be concepts through exposure to art history and The design and illustration of children’s on the relationship between electronic media books. Emphasis on the stages of develop- the field of contemporary illustration. and production techniques. Specific programs Prerequisites: FP 100 A/B, and FP 120 A/B. ment of a book from manuscript through to be utilized will include: QuarkXpress, dummy design to finished art. Professional Adobe Illustrator and Adobe Photoshop. IL 202 A/B practice, and working with editors and art Prerequisite: IL 204. directors are discussed. Students will become Figure Anatomy familiar with the work of past and present 2 hours (lecture) IL 302 book illustration and design. 3 hours (drawing lab) Figurative Communication Prerequisite: Student must be a Sophomore for 3 credits 6 hours enrollment in this course, Juniors preferred. Focus on the investigation and application of 3 credits line, plane, mass, light and shade, shadow, Emphasis is on working from life. The course IL 400 A/B perspective, anatomy, and proportion as they focuses on the use of the figure and or still life Illustration relate to figure drawing. Weekly sessions objects to communicate concepts in the include a lecture, demonstrations from the 6 hours figurative context. Drawing and painting 3 credits skeleton, and drawing from life. media are explored. Prerequisites: FP 100 A/B, and FP 120 A/B. Assignments revolve around specific areas of Prerequisites: IL 200 A/B, IL 202 A/B, and illustration–advertising, book, documentary, PF 209 or approval by instructor. IL 204 editorial, and institutional. Emphasis is on solutions, both practical and relevant, and the Typography type and quality of finish for professional 6 hours needs and demands. A senior thesis project 3 credits (Ely Competition) will be incorporated in the Beginning studies in the form, use, fall/spring semesters. nomenclature, and history of typography. Prerequisites: IL 300 A/B, and IL 302. Individual letters, word formations, text arrangements, type combined with imagery, and the application of type to simple communication exercises will be addressed. Use of Macintosh computer for generating type and industry accepted software will be used. Prerequisites: FP 100 A/B, and FP 120 A/B.

161 IL 403 A/B ME 610 A/B Senior Portfolio Museum Museum Exhibition Design Studio 6 hours 6 hours, twice a week 3 credits Exhibition 6 credits Development of a portfolio based on the The primary vehicle for exploring and student’s personal interests, abilities and Planning and developing museum exhibition planning, target markets. Students focus on a free-lance design, project organization and presentation or studio orientation and develop, over the Design skills, and techniques. year, a working portfolio for presentation at Prerequisite: Admission to MEPD program. the end of the spring term. In addition to the ME 500 portfolio, the course offers instruction in Museum Course ME 620 marketing and promotion, business practices 3 credits Environmental Graphics and procedures, resume writing, taxes, and A lecture/seminar course exploring the 3 hours, twice a week small business requirements as they relate to philosophy and history of museums and the 3 credits artists. The course culminates in The development of the museum exhibition form. A studio course dealing with color, lighting, University of the Arts’ Portfolio Day at the Guest speakers bring a wide range of writing design, and production of the graphic Society of Illustrators in New York, NY at knowledge and practices from their respective components of an exhibition. the end of the semester. professional disciplines and provide insight Prerequisite: Admission to MEPD program. Prerequisites: IL 300 A/B, IL 302 into museum exhibition practice. The course provides students with an overall understand- ME 622 IL 440 ing of the role exhibitions can and do play Media for Museum Communication Design Internship in public institutions. Offered in the 3 hours, twice a week 6 hours evening. Priority for enrollment is given to 3 credits 3 credits graduate students in the Museum Education A laboratory/workshop course on utilization Open to Juniors and Seniors only, this and MEPD programs. of appropriate technological media, with course places students with local businesses Prerequisite: Upperclass undergraduate or emphasis on the creation of visitor interaction. to test their developing skills in a real-work graduate standing. Computer literacy, familiarity with Macintosh environment. Placements vary and can System 7 required. Prerequisite: Admission to include advertising agencies, design studios, ME 501 MEPD program. publishers, individual free-lance artists, TV History of the Museum and the stations, museums, and the like. This course Museum in Society ME 623 includes a seminar and the development 3 credits Exhibition Materials and Technology of a learning plan. A lecture/seminar course exploring the history, 3 credits Enrollment is limited to 12 students. organization, and operation of the museum A demonstration/visitation course directed at Portfolio review and approval by client and faculty as a cultural/educational institution, an the problems of exhibit production, the advisor required. economic entity, and a management enterprise. choice of materials and methods, budgeting, Guest speakers bring a wide range of and suppliers of materials and services. knowledge and practices from their respective Prerequisite: Admission to MEPD program. institutions and consultancies to provide the student with insight into the differences ME 710 between museums of different types, sizes, Museum Exhibition Design Studio and missions. The course provides students 6 hours, twice a week with an overall understanding of the museum 6 credits as an institution and an introduction to the The primary vehicle for exploring and many roles played by museum professionals. developing museum exhibition planning, Offered in the evening. design, project organization and presentation Prerequisite: Upperclass undergraduate or skills and techniques. graduate standing. Prerequisites: ME 500 and ME 610 A/B.

ME 508 ME 749 A/B The Museum Audience Thesis Development 3 credits 6 credits A lecture course focusing on museum Independent research and design in an area communications and learning, identifying the supporting the student’s career objectives and characteristics of the museum visitor, the interests. ways in which visitors experience museum Prerequisites: ME 610 A/B. exhibitions, cognitive and affective behavior, the relationship of museum exhibitions and ME 759 educational programming, and the impact of Museum Internship museum visitor studies on the planning and 3 credits design of museum exhibitions and the A 3-month, supervised practicum in a environment. cooperating museum.

162 MM 130 MM 219 Multimedia Communication Concepts Introduction to Multimedia 3 credits 3 credits MM 110, 111 3 hours 6 hours Emphasis is on the importance of organizing An introduction to the basic software Visual Concepts I and II and communicating information in a digital environments for digital interactivity. After 3 credits world. Students will acquire a basic concentrating on creating nonlinear texts, 6 hours understanding of how computers operate and students investigate the integration of The fall semester covers fundamental visual communicate with each other, as well as an other media elements. Subjects include concepts including point, line, shape, understanding of the evolution of the the use of buttons, screen navigation, composition, texture, color and image. personal computer and the industries which transitions, basic scripting, and controlling Although non-digital techniques are have spun out of this technology. Student sound and video. occasionally used, the mastery of digital tools assignments include readings, data base is a primary aspect. Exercises require students projects and written analyses. MM 221, 222 to develop a vocabulary for discussing their Prerequisite: Open to non-majors with permission Interactive Studio I, II work while at the same time learning a basic of the instructor. set of software tools. The spring semester 3 credits 6 hours builds upon issues addressed in Communica- MM 150 tion Concepts and continues with an This sequence of courses addresses the introduction to the visual concepts of Collaboration and Spontaneity development and application of interactivity typography, 3-D structure and form, series, 3 credits in a multimedia context. It will introduce sequence and narrative. 6 hours authoring tools such as Director and Prerequisites: Permission of the instructor or This class, through a series of exercises, class Hypercard/Toolbook for CD-ROM produc- completion of MM 110 for MM 111. discussions and readings explores what it tion as well as World Wide Web technologies means to work as part of a team. Students such as Netscape, Page/Site Mill, Net Object MM 121 learn to develop environments in which the Fusion, and their limitations. This sequence creative process is encouraged to unfold. The will focus mainly on the authoring and Introduction to Interface Design basic assumptions that affect the formation of programming issues of interactivity, applying 1.5 credits collaborative groups, such as personal the concepts of user interface addressed in 1.5 hours responsibility, authority relations, leadership MM 121. This course will focus on prin- The software interface represents the focal issues, individual differences, competition, ciples of authoring and scripting that can be point of user interaction with the various the development of norms, and the genera- transferred to different authoring systems. modes of multimedia communication. tion and uses of power, is experienced, Prerequisites: MM 121. Readings by interface theorists will inform explicated, and examined. Students work discussions on the evolution of the software within this collaborative environment to interface, conceptual models, prototypes, explore the connections between spontaneous MM 223 interaction design, deliverables and basic verbal and nonverbal communication. Interactive Narrative concepts of human-computer interaction. Prerequisite: Open to majors only. Avenues for pursuing interactive media 3 credits 4 hours design in entertainment, publishing and MM 151 education will also be addressed. Current This course introduces students to new ways technologies, including the trend from soft to Collaboration and Spontaneity of thinking about interactivity and hard interfaces, in terms of their potential Practicum storytelling. Students analyze how the short- and long-term influence on communi- 1.5 credits interactive structure of an experience creates cation and multimedia. Basic methods for 1.5 hours narrative. Short readings discussed in class rapid prototyping and testing. Students have the opportunity to apply, and range from Surrealist Dada and Fluxus Prerequisite: MM 130 or permission in doing so, continue to develop the skills language games to the experimental literature of the instructor. cultivated in the first semester as they focus of Joyce and Burroughs to the literary theory on the Freshman Project, a university-wide of Barthes and Eco. Students examine collaborative, creative experience. contemporary examples of interactive media Prerequisite: MM 150. such as CD-ROMs, role-playing games and Internet sites. Prerequisites: HU 110 B and MM 121, or HU 110 B and MM 231, or permission of the instructor.

163 MM 271 MM 320 MM 470, 471 Survey of New Media Advanced Interface Seminar Issues in Multimedia Seminar I, II 3 credits 1.5 credits 1.5 credits 3 hours 1.5 hours 1.5 hours This course examines the chronological MM 320 is a seminar course that builds on These courses serve as vehicles for discussion evolution of digital technology and its MM 121 (Introduction to Interface Design). of current topics in multimedia. Special inevitable application by the aesthetic This course focuses on the issues involved in attention is paid to the discussion of community. Beginning with the develop- creating user interfaces in today’s develop- emerging technologies and criteria for ment of digital technology in the mid-1940’s, ment platforms (hardware, software, input evaluating their effectiveness, appropriate use the course discusses the convergence of the devices, cell phones, etc.). Lectures, and potential. Ethical issues surrounding scientific, military, and political environ- discussions, readings, research, and writing new media are discussed. ments that spawned the employment of will constitute the body of this course. In Prerequisite: MM 350. Open only to majors. digital technology, including the path that addition to current interface trends, the lead to the digital dominance over analog. process of developing the interfaces of Focus will include the enhancement, tomorrow will be addressed. exploitation and embracing of digital Prerequisite: MM 222. technology by the corporate and aesthetic communities, including the invention of the MM 350 personal computer and its ancillary products Business Seminar and the application of digital technologies in 1.5 credits fields as diverse as medicine, communica- 1.5 hours tions, manufacturing, cognitive psychology, MM 350 is a seminar that focuses on the and in particular, the arts. Pioneers in all professional implications of pursuing a career fields will be identified and examined. in multimedia’s various industries. This Prerequisites: HU 103 A/B. course will be taught by a guest lecturer who maintains a career as a multimedia profes- MM 310, 311 sional. Lectures, discussions, readings, Multimedia Studio I, II research, writing and presentations will 3 credits constitute this course. Assignments will 6 hours include the creation of both a vitae and MM 310-MM 311 is a two-semester studio resume in addition to a portfolio. Profes- course that focuses on the experience of sional practice will be stressed. Topics such producing complete multimedia works in a as portfolio presentation, self promotion, project-based environment. Lectures and financials, interviewing and firm research will readings augment this studio course. be addressed. Individual creativity is stressed as well as Prerequisite: MM 310. Required for all majors collaboration in the creation of works through prior to enrollment in the Senior year. individual and group projects. Assignments vary in scale, and focus on appropriate MM 410, 411 planning, and information architecture, as Senior Studio I, II well as acquisition and creation of content in 4.5 credits various media. Programming environments 4.5 hours used include but are not limited to HTML, In this 2-semester course, students complete Lingo, and Java Script. Previously intro- two individual or collaborative projects: one, a duced concepts and technology are re- project of their own design; the other, a explored with an emphasis on integration and practicum intended to provide experience effectiveness in the communication of the in solving real-world multimedia problems. concept of the piece. These projects expose students to the Prerequisites: MM 222, or MM 219, or differences between working on client-driven permission of the instructor. and individually-motivated projects. An overall portfolio presentation is required for successful completion of this class. Prerequisites: Open only to majors. MM 311.

164 MU 123 A/B MU 141 A/B Music Guitar Class for Non-Majors Voice Class for Non-Majors 1 hour 1 hour MU 007 A/B 1 credit 1 credit One hour class of guitar instruction in One hour class of voice instruction using Introduction to Music Theory contemporary guitar. Course covers basic traditional methods. Course covers proper 4.5 hours technique including fingering, scales, chords, technique of breathing, support, focus of 3 credits and chord melodies. tone, production of clear vocal line, and some Fundamentals of music theory, designed to musical interpretation of literature. introduce students to the basic principles of MU 124 A/B theory and harmony. Drum Class for Non-Majors MU 149 A/B Aural Concepts MU 103 A/B 1 hour 1 credit 3 hours Musicianship I-II Drum set instruction in basic technique 3 credits 3 hours and contemporary styles including rock, This two-part course, for non-musicians, is an 3 credits jazz, and Brazilian introduction to the use of music and sound as The establishment of fundamental skills components of multimedia and their through the singing and recognition of MU 125 A/B potential for enhancing communication. diatonic materials, i.e., scales, intervals, Brass Class for Non-Majors Students are exposed to special sound effects, triads, and seventh chords, both as isolated the role of spoken communication and the phenomena and in musical contexts. 1 hour 1 credit tools used to create sound for multimedia, Solfeggio performance of diatonic melodies including sound sampling, creation of digital and rhythmic performance in all basic meters Designed for students with little or no experience or formal training. Students will sounds, sound manipulation, and the visual is emphasized, as well as the dictation of analysis of sound. The student’s understand- these materials. learn basic breathing, embouchure, and reading techniques. ing of when and how to work with musicians, Ear Training Placement Test and permission of composers and/or sound designers and the instructor is required. MU 126 A/B acquisition of basic skills in MIDI and Saxophone Class for Non-Majors electronic technology is emphasized. MU 107 A/B Open to non-music majors only. Music Theory I-II 1 hour 1 credit 3 hours Introductory class in saxophone techniques, MU 151 A/B 3 credits embouchure, sound production, breathing, Introduction - Music Education An introduction to basic theory. Includes the fingering, and literature. 1 hour study of scales, intervals, chords of various 1 credit types, harmonic progression, and the analysis A two-semester sequence required of all of small musical forms. MU 127 A/B Flute Class for Non-Majors students in the MATPREP program, and Theory Placement Test and permission of instructor open to any student interested in exploring are required. 1 hour 1 credit Music Education as a career option. Intro- This class will provide the student with a duction to Music education is a survey course MU 111 A/B designed to provide an overview of music Composition Class for Non-Majors solid introduction to tone and technique development and repertoire for the flute. teaching - past, present, and future, and to 1 hour serve as an introduction to the philosophy, 1 credit methodology, and professional role of the Students develop basic skills in various MU 130 A/B Piano Class for Non-Majors music teacher. aspects of composition including form, Open to music majors only. melody, harmony, rhythm, color, texture, 1 hour notation, improvisation, and orchestration. 1 credit One hour class of piano instruction in MU 190 A/B traditional beginning piano. Coursework Applied Instruction Non-Majors MU 121 0.5 hour Calligraphy includes basic technique including scales, chords, and chord melodies. 1.5 credits 1 hour Private instruction in all instrumental, vocal, 1 credit MU 131 A/B and composition areas. Professional methods of musical score and Permission of instructor is required. part preparation, both in the traditional way Class Piano I-II 1 hour with paper and pen, and with computer MU 208 A/B programs. An elective for all majors. 1 credit Introductory and elementary keyboard training Jazz Theory I-II Prerequisite: MU 107 B or permission 3 hours of instructor. using theoretical, harmonic, and technical concepts in practical keyboard application: 3 credits transposition, melody harmonization, elemen- A study of diatonic and chromatic theory as tary improvisation, technique, and repertoire. related to jazz and contemporary music. Required of non-Keyboard Music majors. Prerequisite: MU 107 B or permission Open to majors only. of instructor.

165 MU 209 A/B MU 254 MU 307 A/B Jazz Ear Training I-II Basic Conducting Advanced Jazz Theory and Ear Training 3 hours 2 hours 3 hours 3 credits 2 credits 3 credits Melodic, harmonic and rhythmic aural skill A study of fundamental conducting skills and A practical study of jazz and pop theory development in the jazz and contemporary techniques with emphasis upon physical combined with an advanced ear-training music idioms. aspects of conducting, score reading and program, emphasizing instrumental Prerequisite: MU 103 B or permission preparation, and rehearsal principles. application. Students are required to bring of instructor. Undergraduate corequisite for full acceptance their instruments to class. Coursework into the MAT in Music Education program. includes recognition, writing, dictation, and MU 213 A/B Open to all candidates for the Bachelor of sight reading of advanced chords, chord Jazz Improvisation I-II Music degree. additions and alterations, chord substitutions, 3 hours progressions, and rhythm. 2 credits MU 257 A/B Prerequisite: MU 208 B The application of improvisational techniques Lab Teaching/Practicum I-II Open to majors only. encompassing all standard forms and styles. 2 hours Performance practices are related to the 2 credits MU 308 A/B individual student’s abilities, background, Observation and introduction to teaching in Analysis and Composition of and experience. Coursework includes solo the schools. Course includes field experience Contemporary Music transcription and analysis, a comparison of as well as classroom seminars. 1.5 credits improvisational methods, and a survey of Open to majors only. An examination of compositional techniques educational resources. used in pop songs, jingles, soundtracks, and Open to majors only. MU 301 A/B underscores for radio, TV, records, films, Prerequisites: MU 103 B and MU 107 B or Music History I-II shows and industrials. Students investigate permission of instructor. 3 hours the ways in which music serves to enhance 3 credits the overall goals of the product or project. MU 232 A/B Designed to define the major style periods Musical analysis demonstrates how each style Class Jazz Piano I-II from Greek times to the present in terms of is created. Students produce their own 1 hour their philosophies, accomplishments, and musical compositions in each media context. 1 credit interrelationships. Composers, performers, Prerequisite: MU 208 B. Harmonic concepts in keyboard application and theorists are examined in the context of Open to majors only. for jazz and contemporary music; chord musical literature with emphasis upon styles, voicings for popular tunes, standards, and forms, and techniques of composition as they MU 310, 311 original harmonizations; continuation of jazz evolve and change. The sequence puts into Transcription and Analysis improvisation. historical perspective the materials presented 1.5 hours Required of all non-keyboard majors. in the Music Theory courses. Through 1 credit Prerequisite: MU 131 B listening assignments, students are expected This course is designed to advance the skills Open to majors only. to further develop their aural skills and of ear training, theory, and improvisation knowledge of musical literature. using transcription and analysis. Students MU 241 A/B transcribe melodies, rhythms, harmonies Vocal Styles and Diction I-II MU 306 A/B and arrangements in increasingly more 2 hours History of Rock Music complex forms. The musical theory 2 credits 3 hours underlying each transcription is discussed This course brings together 2nd and 3rd 3 credits and sometimes performed and used as a basis year vocal majors to expose them to the The history of Rock from its inception for further work. wide variety of literature and styles required in the 1950s to the present. Begining with Prerequisite: MU 208 B, MU 209 B, of professionals. Students perform and the important antecedents of Rock and Roll, and MU 213 B. are critiqued by faculty and guests. the course historically traces the various English, Italian, French, and German diction styles that evolved from that time to the MU 313 A/B are studied. present. There are live demonstrations and Jazz Improvisation III-IV Permission of instructor is required. illustrations by guests in class. May be 2 hours taken for elective credit. 2 credits Continuation of MU 213 A/B. Prerequisite: MU 213 B. Open to majors only.

166 MU 315 A/B MU 344 A/B MU 401 B Jazz Arranging I-II Opera Staging I-II American Music History 2 hours 3 hours 3 hours 2 credits 2 credits 3 credits A functional approach to ensemble scoring The interpretation and performance of opera The development of both classical and including score analysis, combo arranging, roles. Technical and artistic preparation for popular American musical styles from the arranging for mixed instrumentation, musical public performance from workshops to major 17th to the 20th century. Recordings and settings for vocalists, string writing, writing productions of full operas. films as well as in-class performances will for pop recording, and special techniques for Permission of instructor is required. help bring to life the music of our American multi-track recording. past. Students gain a clear understanding of Prerequisite: MU 208 B, MU 209 B. MU 347 A/B the social, historical and musical time line Advanced Sight Reading that evolved into our current musical MU 317 A 1 hour environment. Orchestration I 1 credit 3 hours An advanced music reading course designed MU 402 3 credits to further develop the student's music reading, World Music An introduction to instrumentation, writing, recognition, and inner-ear skills. 3 hours designed to acquaint the student with ranges, Prerequisite: MU 209 B or TH 222 B. 3 credits trans-positions, and characteristics of The classical and folk music of various individual instruments. Four orchestration MU 348 A/B countries in Asia, Indonesia, the Middle East, projects are scored, performed, recorded, and Vocal Improvisation Africa, and the Western Hemisphere. A critiqued, comprised of: 1) four woodwinds, 2 hours course open to all University students which 2) four woodwinds and seven brasses, 3) 2 credits may be taken for Music or Liberal Arts string ensemble, and 4) small orchestra with This class develops improvisation skills for elective credit. winds in pairs. vocal majors through the study of advanced Prerequisite: MU 208 B. Open to majors only. vocal techniques, transcription, theory and MU 406 analysis, and metric concepts. Advanced Rhythmic Theory and MU 317 B Open to majors only, or with permission Practice Orchestration II of instructor. 3 hours 3 hours 3 credits 3 credits MU 356 A/B A study of the rhythmic theories and Primarily intended for composers, this course Music Teaching Skills I-II practices of such composers as Hindemith, presents an analytical history of orchestration 1 hour Messiaen, Stravinsky, Carter, Reich, Bartok, centering on the works of Ravel, Schonberg, 1 credit and Babbitt, as well as contemporary Prokofiev, Wagner, Strauss, Debussy, and Incorporates advanced skills in functional and jazz composers. Stravinsky. Coursework culminates in a large piano, guitar, recorder, writing/arranging for Prerequisite: MU 208 B, MU 209 B, and project for full orchestra which is scored, elementary classroom ensembles, handbells, MU 213 B. performed, and critiqued. Composers are establishment of classroom environment. Open to majors only. encouraged to orchestrate one of their own Projects include arranging, performing, and compositions. simulated teaching. MU 411 Prerequisite: MU 208 B. Open to majors only. Twentieth Century Music Open to majors only. 3 hours MU 401 A 3 credits MU 331 A/B Jazz History A study and analysis of the music of the Advanced Piano for Vocalists 3 hours first half of the twentieth century, such as 1 hour 3 credits Schonberg, Berg, Webern, Stravinsky, 1 credit Study of jazz from its African and European Hindemith, Varese, Bartok, Copland, Designed primarily for vocalists, this course roots through its emergence at the turn of the and Messiaen. continues in the development of piano twentieth century as a unique and distinctive Prerequisite: MU 208 B, MU 209 B, and techniques with an emphasis on learning self- American art form. The various styles of jazz MU 213 B or permission of the instructor. accompaniment. Literature from all vocal are studied (ragtime, New Orleans Dixieland, areas is practiced including oratorio, musical Chicago style, swing, be-bop, cool, hard-bop, MU 413 A/B theater, jazz, opera, and contemporary. free-form, third stream), including their Recording I-II Students accompany other singers. effect on the popular music with which jazz 2 hours Prerequisite: MU 232 B has coexisted. An in-depth study of the 2 credits primary exponents of the various styles. A study of the recording process and the MU 341 A/B Audio and video materials are used to provide many facets of the recording studio. Vocal Styles and Diction III-IV students with a better understanding of jazz Designed to familiarize the student with 2 hours and its influences on the music industry. conventional and creative recording techniques 2 credits Prerequisite: MU 208 B, MU 209 B, and through practical experience in the studio. Continuation of MU 241 A/B. MU 213 B or permission of the instructor. Prerequisite: MU 241 B.

167 MU 415 A/B MU 424 MU 451 A Introduction to MIDI and Electronic Wagner and the Ring Cycle Psychology of Music Teaching I Technology 3 hours 2 hours 3 hours 3 credits 2 credits 3 credits An in-depth study of Wagnerian Opera This course is intended to acquaint the A detailed “hands-on” examination of the use with special emphasis on the four operas that prospective music educator with the major of microcomputers in the present day constitute the Ring Cycle. Lectures and theories and developments associated with composition environment. The course discussions will cover libretti, harmonic the psychology of child growth and develop- includes the uses of computer, the language idiom, staging and symbolism. A course ment in physical, emotional, and psychologi- of MIDI, sequencing, FM and other types of open to all University students for Music cal terms; and a volume of principles synthesis, and a survey of currently available or Liberal Arts credit. supported by psychological observation and music software packages. Students are investigation which appear to possess import strongly encouraged to engage in indepen- MU 427 for the teaching/learning endeavor in music. dent work based on their own compositional Diaghilev and His Time Open to majors only. interests. No prior computer or synthesis 3 hours experience is needed. 3 credits MU 451 B The role of Serge Diaghilev and his famous Psychology of Music Teaching II MU 416 A/B Ballet Russes in shaping the course of music 2 hours MIDI Synthesis I-II and dance from c. 1909-1929. Special 2 credits 0.75 hour emphasis on the works of Igor Stravinsky Emphasis on the application or learning 1.5 credits with reference to his music for the stage. The theories to practical considerations of Students become proficient at the skills interrelationships between various artists, teaching, including motivation, learning necessary to work creatively in the MIDI dancers, and writers such as Picasso, Cocteau, sequence, student-teacher interaction, and studio. Information includes current Nijinsky, Bakst, Massine, and others who classroom management. Developmental synthesis methods and programming of were active in Paris. Works are examined theories, like those of Piaget and Erikson, are original sounds and drum machines; from the perspective of the composer, the explored with attention to selecting learning sampling procedures; collecting and editing choreographer, the set and costume designer, experiences in the music classroom. original samples; MIDI studio recording the dancers and the audience. Literature Open to majors only. processes; the use of sync codes. includes Stravinsky (Firebird, Petrushka, Prerequisite: MU 415 B. Rite of Spring, Les Noces, Pulcinella, Oedipus Rex), Debussy (Jeux), Ravel MU 417 A/B (Daphnis and Chloe), Satie (Parade), De Falla Opera Literature (The Three-Cornered Hat), Milhaud (Le Train 3 hours Bleu, La Création du Monde), Poulenc 3 credits (Les Biches) and Prokofiev. A course open Survey of operatic styles and genres. Emphasis to all University students for Music or on the cultural and social contexts of a wide Liberal Arts credit. diversity of operas, and upon character analysis. Intensive examination of complete MU 441 A/B operas. Open to all University students for Vocal Workshop Music or Liberal Arts elective credit. 1 hour 1 credit MU 420 A An exit-level course for vocal majors which Business of Music prepares students for the musical, career and 2 hours performance practices they will encounter in 2 credits the competitive professional marketplace. An examination of the legal, practical, and Class includes lectures by guest singers, procedural problems encountered by the composers, opera and musical directors, practicing musician. Specific course content vocal coaches, and record producers. varies each year according to the needs of the Prerequisite: MU 331 B, MU 341 B, and students and their particular career goals. MU 347 B.

MU 420 B MU 444 A/B Careers in Music Opera Staging III-IV 2 hours 3 hours 2 credits 2 credits A study in the career options available to Continuation of MU 344 A/B. musicians and the knowledge and craft Prerequisite: MU 344 B. necessary for the successful recognition and exploitation of these opportunities. Open to majors only.

168 Master of Arts in MU 553 MU 556 Music and Special Children Secondary Student Teaching Teaching in Music 2 hours Students in the field Education 2 credits 4 credits Through readings, discussions, guest speakers, Taken concurrently with MU 556 and MU MU 550 classroom observations and simulated 558. Offered only during the spring semester Advanced Conducting - Choral or teaching, the goals of the course are: to students in their final semester of study. Instrumental 1. to define and examine various types The equivalent of six weeks experience at the 3 hours of disabilities. secondary level is required to receive credit 3 credits 2. to offer a background on special education for this course. Placement in schools is Advanced conducting techniques and practices and laws in America. determined by the Director of Music applications of these techniques to instru- 3. to aid students in developing an Education. mental or choral music teaching at the appreciation of the needs of handicapped Prerequisite: Matriculation in the MAT program. secondary-school level. Emphases include the persons in general society, in education, selections of appropriate literature, style and and in music education. MU 557 interpretation, rehearsal planning and 4. to guide music education students in Music Administration and Supervision implementation, evaluating performance developing goals and objectives, adapting 3 hours outcomes, and special considerations relative lessons and preparing meaningful lesson plans 3 credits to the teaching of music through the vehicle for special students in the music classroom. Course addresses issues and concerns of of performance. Students select either Participation in class discussion based on administering school music programs– instrumental or choral emphasis. assigned reading, a written/verbal presenta- program planning and development, budget Prerequisites: A course in Basic Conducting and tion on a specific disability, field observations, and finance, facilities, equipment, public matriculation in the MAT program. and two written examinations provide bases relations, scheduling, concert planning, for evaluating student achievement. and related matters. Principles and MU 551 Prerequisite: Matriculation in the MAT program. methods of effective supervision of programs Education in American Society and personnel constitute a second focus 3 hours MU 554 A of the course. 3 credits Elementary Methods and Materials Prerequisite: Matriculation in the MAT program. The course utilizes lecture/discussion, seminar, 3 hours field and research presentation experiences to 3 credits MU 558 address historical, philosophical, and A concentrated study of methods and Student Teaching Seminar and contemporary issues in American Education. materials involved in planning, implement- Major Project Students are required to complete four major ing, and evaluating instructional programs in 2 hours papers dedicated to the aforementioned issues elementary music education. Lecture, 2 credits and present them during seminar sessions. workshop, and simulated teaching sessions. Taken concurrently with MU 555 and MU Assigned readings and the keeping of a Prerequisite: Matriculation in the MAT program. 556. Required of and limited to students notebook devoted to current events in who are student teaching. Discussion and education are required. Students are granted MU 554 B analysis of field experiences, special work- released time from class to complete research Secondary Methods and Materials shops and field trips. Major paper comprises papers and are counselled individually to 3 hours a thorough status-study and evaluation of the facilitate their projects. Guest speakers 3 credits programs in which each student is interning. typically include a school administrator, A concentrated study of methods and Successful completion of an oral exit counsellor/social worker, a supervisor or materials involved in planning, implement- examination is required. teacher from another curricular area other than ing, and evaluating instructional programs in Prerequisite: Matriculation in the MAT program. music, and related school personnel. secondary music education. Lecture, Prerequisite: Matriculation in the MAT program. workshop, and simulated teaching sessions. Prerequisite: Matriculation in the MAT program. MU 552 Workshop in Vocal Methods MU 555 1 hour Elementary Student Teaching 2 credits Students in the field Class instruction and participatory experi- 4 credits ences in voice theory, vocal production, Taken concurrently with MU 556 and teaching methods, and instructional materials MU 558. Offered only during the spring for use in elementary and secondary schools. semester to students in their final semester The physiology of the voice is studied with of study. The equivalent of six weeks reference to principles of choral singing. experience at the elementary level is required Special problems of the child and adolescent to receive credit for this course. Placement voice are considered. in schools is determined by the Director Prerequisite: Matriculation in the MAT program. of Music Education. Prerequisite: Matriculation in the MAT program.

169 MU 559 Master of Music in MU 617 Research, Evaluation, and Transcription and Analysis Technology in Music Education Jazz Studies 3 hours 3 hours 3 credits 3 credits MU 603 Accurate notation, transcription fluency and The course has three primary foci: Graduate Project/Recital recognition of theoretical concepts are 1. Examination of the role of research in 3 hours developed through a regime of continual and music education, sources of research, analysis 3 credits rigorous assignments–all designed to further of research types and methods, and the Independent research project designed to advance skills in ear training and theory. criticism of research in terms of internal and enable the student to work in depth on a Projects begin with single line melodies in external criteria. topic of special relevance which is applicable varying instrumental registers and progress 2. Principles of effective evaluation strategies to performance. The graduate project is through advanced rhythms and chord in music education; standardized and evaluated in two parts: as a thesis, with the progressions to complete arrangements and teacher-constructed approaches to evaluating expectation that the student has completed compositions. Sources include bass lines, music teaching and learning in the cognitive, extensive research in a comprehensive synthesizer sequences, pop recordings, jazz psychomotor, and affective domains. manner; and as a recital, in which the improvisations and drum solos. Students 3. Study of computer applications and student incorporates aspects of the project learn techniques and performance practices of related technological advances relative to the and demonstrates personal instrumental varying styles and periods, and then perform teaching and administration of programs in growth. Students give presentations transcribed parts and solos. music education. throughout the semester in a seminar setting Prerequisite: Matriculation in the MM program. Prerequisite: Matriculation in the MAT program. showing their progress in research and its application to performance. MU 620, 621 MU 560 A Prerequisite: Matriculation in the MM program. Professional Internship Workshop in Instrumental Methods I 1 hour 2 hours MU 615, 616 1 credit 2 credits MIDI and Music Technology Provides hands-on, sitting-in experience in Class instruction and participatory experi- 2 hours a variety of professional settings–rehearsals, ences in performing on brass and percussion 2 credits performances, meetings with producers, and instruments and teaching brass and percus- Hands-on exploration of music technology in-studio projects such as recording, sion in elementary and secondary schools. applicable to performer, composer, arranger arranging, or project coordination. The The class will constitute a lab ensemble for with focus on fluency with MIDI sequencing program is developed by the graduate advisor exploring methods and materials. Full class including MAX to create interactive live and major teacher in conjunction with the sessions will be supplemented with small- performance situations. Students work with student to select topics and experiences most group instruction, and clinics will focus on modular digital multi-tracks and edit and relevant and beneficial to that particular instrument care and repair, instrument create original sounds for synthesizers and student’s education. selection, developing beginning instrumental samplers. Hard disk recording using Pro- Prerequisite: Matriculation in the MM program. programs in schools, and related issues. Tools III and Digital Performer, SMPTE and Prerequisite: Matriculation in the MAT program. synchronization in the studio, and composi- MU 622 tion and sound design for film, video and Graduate Arranging MU 560 B theater are also explored. Training in 2 hours Workshop in Instrumental Methods II notation software is an integral and essential 2 credits 2 hours aspect of the course: after the first month, Emphasis is on effective writing in various 2 credits assignments for all graduate courses require contemporary styles and building on basic Class instruction and participatory experi- use of professional notation software. arranging skills, with a focus on specific ences in performing on woodwind and string Prerequisite: Matriculation in the MM program. arranging techniques such as writing instruments and teaching woodwinds and effectively for the rhythm section, horn strings in elementary and secondary schools. voicings, sax soli, and contemporary fusion The class will constitute a lab ensemble for styles. Arrangements are studied in score exploring methods and materials. Full class format and aurally, and then techniques are sessions will be supplemented with small- applied to student projects. group instruction, and clinics will focus on Prerequisite: Matriculation in the MM program. instrument care and repair, instrument selection, developing beginning instrumental programs in schools, and related issues. Prerequisite: Matriculation in the MAT program.

170 MU 624 Ensembles Private Lessons Composing for Performers BM and MM students participate in a range 2 hours of ensembles selected for their diversity of The following courses are open to majors only. 2 credits style and instrumentation, designed to A dual emphasis–on acoustic instruments and present varied musical experiences. Each MU 191 A/B on technologies–exposes students to a variety ensemble is directed by a faculty artist expert Major Lessons (Vocal) of professional composing situations, in the selected idiom. 3 credits including large jazz ensembles, fusion, MU 192 A/B acoustic/electronic hybrids, films, videos, and MU 761 musical theater, and jingle writing. Tech- Major Lessons (Instrumental) Handbell Choir 3 credits niques using MIDI, MAX and electronic 1 credit composition are explored. Faculty and guest Permission of instructor is required. composers present workshops on their own MU 193 A/B approaches. Students learn to use the Major Lessons (Composition) recording studio as an instrument and use MU 762 3 credits notation software for score and part prepara- Chamber Singers Ensemble tion. Student works are rehearsed and 1 credit MU 291 A/B performed by graduate and advanced Permission of instructor is required. Major Lessons (Vocal) 3 credits undergraduate ensembles. Prerequisite: MU 191 B. Prerequisite: Matriculation in the MM program. MU 764 Small or Specialty Jazz Ensemble 1 credit MU 292 A/B MU 625, 626 Major Lessons (Instrumental) Advanced Improvisation Permission of instructor is required. Required of all MM in Jazz Studies majors. 3 credits 2 hours Prerequisite: MU 192 B. 2 credits Improvisational styles, techniques and devices MU 765 MU 293 A/B are studied. Intervallic improvisation, New Music Ensemble Major Lessons (Composition) modern triad improvisation, and advanced 1 credit 3 credits pentatonic concepts are addressed, as well as Permission of instructor is required. Prerequisite: MU 193 B. study of the pioneers of jazz improvisation through recorded solos that mark turning MU 772 MU 391 A/B points of improvisation. Topics include Chorus Major Lessons (Vocal) melody embellishment, improvising in 1 credit 3 credits phrases, silence, time-feel, pacing, syncopa- Permission of instructor is required. Prerequisite: MU 291 B. tion, chord tone soloing, dynamics, non- harmonic triads, contracting and expanding MU 774 MU 392 A/B chord duration, tri-tonic cells, sustaining Jazz Band - Big Band/Fusion Ensemble Major Lessons (Instrumental) peak points, and unaccompanied soloing. 1 credit 3 credits Prerequisite: Matriculation in the MM program. Permission of instructor is required. Prerequisite: MU 292 B. MU 393 A/B MU 627, 628 Major Lessons (Composition) Graduate Forum 3 credits 1 hour Prerequisite: MU 293 B. 1 credit A graduate seminar where various aspects of MU 491 A/B study, including musical development and Major Lessons (Vocal) accomplishment, are correlated with critical, 3 credits aesthetic and historical components. Prerequisite: MU 391 B. Additionally, artistic and professional issues are researched and discussed, and guest artists MU 492 A/B and professionals conduct Master Classes Major Lessons (Instrumental) and workshops. A module on research 3 credits techniques is included. Prerequisite: MU 392 B. Prerequisite: Matriculation in the MM program. MU 493 A/B Major Lessons (Composition) 3 credits Prerequisite: MU 393 B. MU 692 A/B Major Lessons (Graduate Instrumental) 3 credits Prerequisite: Admission to the MM program.

171 PF 203 PF 210 B Media Arts Portfolio Documentation Introduction to Film II 6 hours 6 hours 3 credits 3 credits Photography/Film/ The goals of this course are the expansion of A continuation of PF 210 A with an the skills necessary to compile a coherent emphasis on timing, staging and blocking Video/Animation visual portfolio, the development of an exercises to develop a feel for direction, understanding of the role of photography as a experimentation with multiple-image PF 125 research tool, and the acquisition of the skills techniques, the investigation of relationships Freshman Photography needed to produce high-quality documenta- between sound and image, and the produc- 3 hours tion of two- and three-dimensional artwork. tion of a short film or video that integrates 1.5 credits Instruction addresses a range of creative these explorations creatively. Much of An introduction to fundamental techniques lighting and shooting techniques as well as the coursework is done in video. used in black-and-white photography, the problems posed by lighting in a non- Prerequisite: PF 210 A including camera operation, developing, and studio setting. Students deal with the printing. Lectures and presentations on the photographic problems posed by variations in PF 211 A technical aspects of photography as well as scale and the differing materials of glass, Introduction to Photography I the creative and conceptual aspects related to wood, clay, paint, metals, and fibers. Each 6 hours the field. Demonstrations on the production student is required to present a slide portfolio 3 credits of photograms and pinhole images, the use of of their art work describing artistic process. Introduction to basic concepts, processes, and the copy stand and slide film, and a brief Prerequisite: PF 125 Freshman Photography or techniques of black-and-white photography, description of different camera formats. PF 211 A Intro to Photography. including camera operation, exposure, darkroom procedures, lighting, and their PF 127 PF 209 controlled applications. Emphasis on the Freshman Animation Photography for Illustrators normative standard of photographic rendering. 3 hours 6 hours Required for admission to all other 1.5 credits 3 credits Photography courses. An introduction to the basics of animation, Introduction to basic concepts and techniques with an emphasis on the development of of black-and-white photography, including PF 211 B storytelling capabilities. Inventive studio camera operation, developing, and printing, Introduction to Photography II projects explore production techniques used as well as photographic digital imaging. 6 hours both in experimental and character anima- Emphasis is placed on film selection and 3 credits tion. In addition, an historical overview is lighting for both the studio and environmen- While consolidating the student’s control provided through film screenings and group tal shooting. The fundamentals of Photoshop of the medium, this course introduces the discussion. are employed for digital image manipulation. student to a departure from normative Lectures and projects are designed to provide photographic rendering, techniques, and PF 128 the tools necessary for Illustrators who wish modes of expression and form. Strong Freshman Film to use photography in their work. emphasis on manipulation of materials, 3 hours including traditional photographic 1.5 credits PF 210 A methods as well as an introduction to A short survey of film and video production, Introduction to Film I computer-manipulation. with an emphasis on the discussion of the 6 hours Prerequisite: PF 211 A, or by presentation artistic possibilities inherent in this medium. 3 credits of portfolio. Topics will cover elements of narrative, the A hands-on introduction to the principles poetics of film (early historical experiments, and techniques of media production: PF 212 A dream form, and visionary film), the shooting 16mm film, developing a sensitivity Animation Drawing I documentary idiom (propaganda, social to the nuances of movement, understanding 6 hours analysis, and political activism), video as an lighting and exposure, composition, and the 3 credits art form (technology, fine art video, and logic of editing. A survey on the historical Through a series of exercises concentrating on performance art), and kinetic design in the and aesthetic development of the medium in timing and movement, the student acquires a commercial sector (text and moving image order to expand the students’ sense of the basic understanding of drawn animation. design, and kinetic structure in television possibilities of media. Sound is introduced for the final project, commercials). Students write two short which consists of a short, animated film shot papers and prepare a treatment for a work in on 16mm using the Oxberry camera. film or video. Studio assignments concen- Prerequisites: FP 100 A and FP 120 A. trate on storyboard development and group shooting projects.

172 PF 212 B PF 219 PF 313 A/B Animation Drawing II Character Layout and Design Basic Photography Studio I and II 6 hours 6 hours 6 hours 3 credits 3 credits 3 credits Continuing with issues of Animation Designing characters, backgrounds, pans, This course is designed to familiarize the Drawing I, the student is introduced to and creative camera moves for the animated student with the tools, techniques, and under-the-camera animation using varied scene. Design styles and techniques are language of studio photography. The course mediums such as cutouts, sand, and painting- explored for their potential in developing a entails extensive use of the 4" x 5" view on-glass. All projects are shot on 16mm wide range of character types, traits, moods, camera. The first semester deals exclusively using the Bolex camera. The final project personalities, and attitudes. Students learn to with black-and-white materials–sheet film may consist of any medium selected by the lay out scenes around character action, work exposure, hand processing, and printing student. A lab fee is required for this course with camera fields, deal with issues of large-format negatives. The second semester in order to offset the cost of film stock composition and perspective, and to create starts with the introduction of color and lab expenses. moods through layout. A final project transparency films and strobe lighting. Prerequisites: FP 100 B and PF 212 A. requires the development of an “Animator’s Prerequisites: PF 211 A/B, and FP 190 A/B. Bible,” a production workbook, for the PF 216 student’s personal film portfolio. PF 315 Computer Animation I Prerequisite: PF 212 A or by portfolio review. Digital Photography Workshop 6 hours 6 hours 3 credits PF 310 A/B 3 credits This is an introductory course in computer Junior Cinema Production I and II This course concentrates on the production of animation. Emphasis is placed upon 6 hours creative digital photography; students are developing the student’s expertise with 3 credits encouraged to experiment with new tools and computer hardware, software tools, and the Production techniques in actual filming techniques. Film and print scanners, CD- video utilized in creating electronic situations: starting from the script through ROM discs, and digital cameras are used to images that move. budgeting, script breakdown, camera work, produce images that are critiqued on the basis Prerequisite: PF 212 A. and editing, to the finished release print. of both technical proficiency and aesthetic Students are expected to execute specific accomplishment. Portfolios are printed on PF 217 assignments in lighting, editing, and sound, digital output machines, silver-based photo Color Concepts and are introduced to synch-sound procedures. materials, and four-color offset. Frequent 6 hours Prerequisites: PF 210 A/B. readings, lectures, and site visits expand the 3 credits on-going studio experience. Introduction to methods of color shooting PF 311 A/B Prerequisite: PF 211 B and PF 217, or by and printing leading to an exploration of the Junior Photography Workshop portfolio review. technical and creative possibilities of color in 6 hours photography. Processes covered include 3 credits PF 316 negative and transparency films, filtration, Exploration of photographic imagery through Computer Animation II chemical printing, and digital color a series of problems aimed at personal vision 6 hours controls with Photoshop. and creative growth. 3 credits Prerequisite: PF 211 A or by portfolio review. Prerequisites: PF 211 A/B, or by portfolio review. An advanced course in computer animation which builds upon the student’s personal PF 218 PF 312 A/B exploration of the electronic multimedia Creative Sound Junior Animation Workshop I and II environment established in PF 216. 6 hours 6 hours An integration of digital audio, video, 3 credits 3 credits two- and three-dimensional software tools An exploration of the creative use of sound as This course consists of a series of advanced is emphasized. a primary artistic medium. Topics include drawn-animation exercises culminating in a Prerequisites: PF 212 B and PF 216, or sound and hearing, microphones and one-minute animated film. A short, PF 322 and MM 222. recording, tape editing and manipulation, additional film is produced during the second sound aesthetics and production styles, voice semester. Aspects of career concerns in and narration, signal processing and sound animation are introduced: grant writing, manipulation, and production formats. resumes, budgets, and the process of entering Through audio production projects, students film festivals. The student also receives gain insights into new ways of using sound, detailed instruction on operating procedures both on its own and with other media. for the Oxberry camera. Prerequisites: PF 212 A/B, and FP 190 B.

173 PF 320 PF 328 PF 413 Film Sound Selected Topics in Animation Professional Practices 6 hours 6 hours 3 hours 3 credits 3 credits 3 credits Students in this course explore creative sound An exploration of media used in animation. Study of the practice of professional photog- design in finished films with instruction and The content of each course offering will raphy, with attention to various career practice in the use of sound recording reflect the professional interests of the opportunities, portfolio presentation, business equipment, sound transfers, building and instructor. Topics include clay and puppet practices, professional ethics, photographic editing multiple synchronous sound tracks, animation, character layout and design, and law, and personal objectives. A variety of and preparing for the sound mix. Students narrative storytelling development. professional guests visit the course. work in groups to create and complete a 5" Prerequisites: PF 212 A/B. Prerequisites: PF 311 A and PF 313 A. sync sound film that incorporates the concept of “sound design.” PF 331 PF 415 A/B Prerequisite: PF 210 A/B. Image and Performance Senior Photography Seminar I and II 6 hours 6 hours PF 322 3 credits 3 credits Media Technology For artists and performers of all disciplines. An analysis of contemporary criticism in 6 hours An intensive cross-disciplinary workshop in photography. Extensive reading and some 3 credits which the students will create their own short writing with attention to current showings A hands-on exploration of some of the performance works using fusions of video, and exhibitions are required. technical materials and procedures that animation, dance, motion, and sound to Prerequisite: Permission of department complement the media artist’s production explore the interactions between visual media chairperson required. skills: video editing and post-production and the performing arts. technologies, sound mixing and processing, PF 424 basic electronics, optical printing, computer PF 410 A/B Time: A Multidisciplinary Seminar sound editing, and computer image process- Senior Cinema Production I and II 3 hours ing. Field trips to high-end facilities 6 hours 3 credits supplement classroom work and students are 3 credits The concept of time considered from a expected to work with Dance and Music Each student produces an independent multidisciplinary perspective, drawing on majors in the completion of a final project. thesis film. readings in philosophy, literature, psychology, Prerequisite: PF 210 A/B. Prerequisites: Senior status in the major. sociology, and film theory. Relevant works in film and video are screened. Students are PF 323 PF 411 A/B responsible for a final term paper that Selected Topics in Photography Senior Photography Workshop interrelates two or more of the readings with 6 hours 6 hours one of the screened works. 3 credits 3 credits Study of one or more various media, methods, Continuation of junior workshop; students PF 499 or problems in still photography to be offered work on long-term individual projects or Internship according to the instructor’s interests and shorter-term problems to develop technical, 90 hours/semester students’ requests. Topics include: portrai- aesthetic, and conceptual mastery of the 3 credits ture, documentary photography, digital medium. The course culminates in a group An internship program in which the student imaging, color manipulation, photographic thesis exhibition and production of an is placed in one of several professional illustration, and photo-based mixed media. individual portfolio. situations. Placements in photography may Prerequisite: PF 211 A. Prerequisites: PF 311 A/B, and PF 313 A/B. include assisting in professional studios, practice in biomedical photography laborato- PF 324 PF 412 A/B ries, and curatorial positions in galleries, Film Forum: Selected Topics Senior Animation Workshop among others. Placements in film and 3 hours 6 hours animation are sponsored by local independent 3 credits 3 credits production houses and television stations, Concentrated study of a particular area of Directed independent production of a short design firms, and free-lance animation artists; film, video, or animation. Courses deal with film project in an idiom of the student’s students of film may assist in location specific issues and have included: film theory; choosing; additional production of a VHS shooting, set production, editing, casting seminars in sound; media, theater, and video portfolio composed of several short and scripting, and a myriad of other performance; history of video art; and animated sequences that each student will be practical tasks. history of animation. able to use when applying for work as either Prerequisite: PF 211 A/B (for Photo intern- a free-lance animator or for employment ships); PF 210 A/B (for Film/Video internships); with an animation company. or PF 212 A/B (for Animation internships). Prerequisites: Senior status in the major.

174 PR 204 PR 224 Printmaking/ Screenprinting/Etching Book Arts: Structures 6 hours 3 hours Book Arts 3 credits 1.5 credits The graphic qualities of expression in Historical book forms serve as models and as All Printmaking/Book Arts classes are open screenprinting and etching/intaglio are a departure point for innovative new work. on a studio elective basis if the prerequisites are met presented through historic and contemporary Students are made familiar with traditional and space is available. examples and demonstration of the methods binding techniques, encouraged to explore which convey ideas in these two media. new applications and to experiment by PR 102 Various stencil processes from direct-drawn to combining images and text into unique book Freshman Screenprinting photographic and computer-generated are structures. Some of the structures presented 3 hours explored in screenprinting with waterbased are signature binding, Japanese binding, 1.5 credits opaque and transparent inks. Handwork on accordion structure, pop-up structures, and An introduction and investigation of various the metal plate includes drawn drypoint, tunnel books. stencil methods, based on three primary types etching, and tonal processes. Emphasis is While this course is an introductory level of screen stencils–cut paper, blockout/resist, placed on the understanding of the qualities course, it may also serve as a follow-up course and photo emulsion, using water-based inks of these methods and development of personal for students who have already completed PR on both paper and fabric. Emphasis on the ideas through their combination. 223 Bookbinding Methods or PR 305 Book acquisition of personal expression and Arts I: Type and Binding, since much of the technical skills, within the capabilities of PR 211 material covered is different. screenprinted opaque and transparent colors; Etching/Monotype and the use of editions in collaborative class 3 hours PR 300 image exchange. Additionally, the various 1.5 credits Lithography media unique to Printmaking are shown and Individual expression with the graphic 6 hours discussed, to introduce the beginning student qualities of etched and directly drawn ideas 3 credits to the wide possibilities of expression created on the metal plate by hand or acid All of the basic techniques of drawing, inherent in Printmaking. etching in color and monochrome. Processes image making, and printing skills that are also include printing from drawing and necessary to produce hand-pulled, black and PR 201 painting directly on plexiglass and metal white lithographs from lithographic stones Relief/Monotype plate with oil and waterbased materials. and plates will be experienced. An emphasis 6 hours will be placed on visual expression and 3 credits PR 222 development of ideas through group Introduction to the graphic and expressive Non-silver Processes discussions and critiques. qualities of woodcut, linoleum, collograph 3 or 6 hours processes printed in monochrome and color. 1.5 or 3 credits PR 301 Monoprinting ideas from direct drawing and Students are introduced to the basic techniques Printmaking Workshop painting on plexiglass and metal plate is of non-silver by building images in color 3 hours also explored. with layers of brushed-on light-sensitive 1.5 credits emulsion. Light-resists can range from A continuation of the development of skills PR 202 photogram objects to drawings and paintings, in all media such as relief, intaglio, and Screenprinting to film or paper negatives. Processes covered screenprinting by concentrating on one or any 3 hours are VanDyke brown, cyanotype, gum combination of them including non- 1.5 credits bichromate, and palladium printing. printmaking methods. Investigation of the Introduction and investigation of stencil combination of media, including three- methods in screenprinting with waterbased PR 223 dimensional forms and unorthodox uses of inks. Idea development and acquisition of Bookbinding Methods materials and techniques, with an emphasis visual skills in expression in color, line and 3 hours on integration is included. form through drawn, photographic or 1.5 credits Prerequisites: PR 201, PR 204 computer-generated stencil processes. A workshop class familiarizing the student with the characteristics and handling PR 306 qualities of materials used in various book Print Study Seminar I structures. Some of the structures covered 3 hours, alternate weeks include pamphlet binding, multi-signature 1.5 credits books, clamshell boxes, portfolios, accordion Students meet at the Philadelphia Museum structures, and oriental binding. Emphasis of Art Print Study Room to discuss and will be placed upon both the use of archivally study original prints and rare books from sound materials and the use of these the museum collection. Masters of the structures as vehicles for the students’ 15th through the 18th centuries are creative expression. introduced and researched. Printmaking processes that parallel the material covered are demonstrated and practised in the printmaking studios.

175 PR 307 PR 400 PR 420 Book Arts: Concept and Structure Advanced Workshop Thesis Workshop 6 hours 6 hours 6 hours 3 credits 3 credits 3 credits The course offers students an opportunity to Students continue to develop their ideas, This course offers the student the opportunity explore the integration of type and relief images, and techniques while establishing to develop a body of work in preparation for image in unique and editioned book their direction and personal original portfolio and exhibition presentation. An structures. Hands-on experience in dealing expression. The workshop atmosphere emphasis is placed in the development of with composition (metal) type and computer permits a comfortable handling of all ideas and content of individual student’s typesetting is on an intermediate level. procedures and printmaking processes. work, which is supported by a series of Methods of relief printing will be explored Students are encouraged to be involved with individual and group critiques by faculty and and cultivated. Wood engraving, photopoly- adjacent expressive means such as drawing, visiting artists. The student is expected to mer relief, color reduction printing, and painting, sculpture, photography, and crafts. participate in group exhibitions as well as a related traditional and contemporary methods Prerequisites: PR 201, PR 204, solo exhibition and to present a professional of multiple image making will be pursued. PR 300, and FA 333 A. portfolio of work. Special emphasis on development of Prerequisites: PR 201, PR 204, PR 300, a personal visual language. PR 406 and FA 333 A. Print Study Seminar II PR 308 3 hours, alternate weeks PR 421 Advanced Lithography Workshop 1.5 credits Collaborative Printmaking 6 hours The historical and conceptual context of 3 or 6 hours 3 credits prints, portfolios and book arts of the 19th 1.5 or 3 credits, on tutorial basis Students are offered the opportunity for and 20th centuries are studied at the Involvement in the business, technology and further investigation and development of Philadelphia Museum of Art. Written and experience of printing limited editions for lithographic image making, including printed expression of the ideas and processes faculty, student, or professional artist by photographic techniques and multi-color involved are integrated into this course guiding the artist in preparation of the idea, printing. Editioned prints of greater scope of study. then proofing and printing the edition. and complexity are undertaken, consistent Advanced students only; demonstration of with the student’s interest and experience. PR 412 mark-making and editioning abilities. Prerequisite: PR 300. Advanced Printmaking Media: Digital Applications PR 425 PR 322 6 hours Book Production Advanced Non-silver Processes 3 credits 3 or 6 hours 3 or 6 hours Continued investigation into printmaking 1.5 or 3 credits 1.5 or 3 credits processes on an advanced level in terms This advanced course of study will focus Students will have the opportunity for of technical understanding and the develop- on the development and production of a continued development of image and skills in ment of imagery. Emphasis on the integration printed book or portfolio of works: design combinations of non-silver processes. of idea and process and the incorporation and formatting of a publication including Prerequisite: PR 222. of computer-generated material to be investigation of sequence, page design, extended through the mark-making qualities, and binding possibilities; hands-on PR 326 size extension, and color overlays possible experience in the preparation of images for Introduction to Offset Lithography through screenprinting, etching, relief, press production, pre-press techniques, and 3 or 6 hours and lithography. assisting the Master Printer in the printing. 1.5 or 3 credits Prerequisite: Introductory class in one or more All work is produced in the Borowsky Students are offered a hands-on course which printmaking processes: Photoshop. Center for Publication Arts, the University’s develops skills in image preparation and state of the art offset lithography facility. printing techniques using offset lithography. Students may choose to collaborate on An emphasis will be placed on personal projects or work independently. imagery. Both hand-drawn and photographic Prerequisite: Recommendation from the methods of image making will be investi- participant’s major department chair is required. gated.

PR 327 Advanced Offset Lithography 3 or 6 hours 1.5 or 3 credits Students will have the opportunity for a continued investigation of offset lithography. Prerequisite: PR 326.

176 MFA Book Arts/ PR 626 Offset Lithography Printmaking 3 hours 1.5 credits PR 600 A Offers the student hands-on experience with Colloquium: Text and Image offset lithography as an artist‘s medium. The 3 hours primary focus is on the creation of personal 1.5 credits imagery (photographic and/or hand drawn) An understanding of language and verbal for prints and books. The course enables constructs enables the individual to explore students to take advantage of state-of-the-art the relationship between text and imagery. production methods and develop skills in Emphasis is placed on the individual’s photomechanical processes, platemaking and personal vision throughout the program’s color printing. course of study. PR 700 A/B PR 600 B Colloquium: Professional Practices Colloquium: History of the Book 3 hours, alternate weeks 3 hours 1.5 credits 1.5 credits Professional practices and issues related to the Hands-on study of rare books and manu- fields of printmaking, book, and publication scripts from antiquity to the present with arts are explored through discussions, discussions dealing with their structural, lectures, and field trips in the first semester. historical, and artistic significance. The class In the second semester, the focus is on the meets at the Library Company of Philadelphia completion of the individual’s written thesis with field trips to local special collections. requirements. Each thesis candidate prepares Prerequisite: PR 600 A. a resume, an artist’s statement, and presents a slide lecture to be placed on record in the PR 610 A 01 University Library. Book Arts Studio: Color/Mark Prerequisites: PR 600 A/B. 3 credits Provides the student with an opportunity to PR 710 A/B explore a broad range of image-making MFA Thesis Studio approaches. Emphasis on mark making with 3 credits a number of instruments and media, the use A continuation of book and printmaking of color as a structural basis for composition, projects are combined with related visual and the compositional and expressive use of concerns in preparation for the required MFA letter forms. Thesis Exhibition to be presented during the final semester. The MFA candidate develops PR 610 A 02 4.5 credits an individual course of study and defines the PR 610 B 01/B 02 3 credits projects in a written contract. A thesis Book Arts Studio committee to advise the student through the A series of studio courses exploring concep- thesis exhibition process is chosen during the tual concerns intrinsic to the creation of a fall semester. The evolution of ideas and book. The student learns to incorporate imagery is encouraged through frequent calligraphic, handset or computer-generated faculty and visiting artist critiques. letterforms with images in unique and Prerequisites: PR 610 A/B. editioned books. Emphasis on proficiency in process and the creation of a personal visual PR 723 A/B language. Focus on achieving a strong Bookbinding foundation in technical and conceptual skills. 3 hours Frequent faculty and visiting artist critiques 1.5 credits encourage and evolution in ideas and imagery. Continued investigation of the book structure at an advanced technical level. PR 623 A/B Individual attention to developing creative Bookbinding solutions to support book content will start 3 hours in the first semester. Through critiques 1.5 credits and individual instruction the final semester Basic book structures are explored in the first will be devoted to developing structures semester with emphasis on sound conserva- that support thesis work. tion techniques and good craftsmanship. In Prerequisites: PR 623 A/B. the second semester historic book structures serve as models and departure points for innovative bindings. 177 PT 213 PT 233 Painting/Drawing Anatomy and the Figure Landscape Painting 3 hours 6 hours All Painting/Drawing classes are open on a 1.5 credits 3 credits studio elective basis if prerequisites are met and This course gives the student the opportunity Painting the traditional subjects of the landscape: land, city and country, water and space is available. to investigate the basic visual structure of the human figure–both skeletal and muscular. sky, light and air. An examination of how PT 101 During the second semester, the human head these subjects can be seen and interpreted. Freshman Painting will be studied as well as basic positions of the figure with their context. PT 236 3 hours Figure Composition 1.5 credits PT 219 3 hours This course is primarily an introduction to 1.5 credits the decisions, general methods and problems Watercolor 3 hours A drawing course emphasizing the develop- of painting. Students are introduced to oil ment of images using multiple figure painting with both still life and figurative 1.5 credits A course in which the preferred medium is arrangements. Assignments are designed to subject matter. Technical instruction are foster awareness of the significance of poses relevant to the broad image possibilities in transparent watercolor, the particular charac- teristics of which will be explored. Both and groupings relative to formal design painting. Students work from setups, models virtues, narrative and symbolism. and landscapes. perceptual and non-perceptual approaches will be introduced. PT 237 PT 124 Representational Painting Freshman Drawing PT 225 6 hours 3 hours Figure Drawing 3 credits 1.5 credits 6 hours A studio course addressing traditional and This course is designed to increase the 3 credits contemporary concepts and styles in beginning student’s awareness of drawing as This course is intended to teach students to representational images. Special emphasis on an expressive pictorial form. It is meant to draw the figure using both two- and three- the relationship between content and enrich rather than duplicate the Foundation dimensional methods. Students will work pictorial choice made by the student artist. Drawing experience. Included in the course from the clothed and nude model using a Throughout the semester, the role of form, of study is an investigative perceiving and wide variety of materials. Emphasis will be color, space, interval and gesture, and surface representing of objects and scenes, mark- placed on the process of drawing, the in the composition of images will be making as a conveyor of feelings, sensations, development of visual perception and investigated. Paintings are generated both and ideas, and compositional and stylistic manual control rather than on the production from direct observation of nature and human strategies that present meaning. The of completed drawings and modeled figures. figures and from the students own resources. emphasis is always on the awareness of The series may focus on contemporary options for expression rather than on PT 226 prototypes (painting since l945) or estab- prescribed systems of drawing. Abstract Drawing and Composition lished specific traditions such as American 6 hours portraiture. Assignments are presented with PT 202 A/B 3 credits supportive examples and discussed in Sophomore Painting Studies in the diverse forms and processes of individual and group critiques. 6 hours abstraction. Using both improvisational and 3 credits systematic methods, drawings will explore PT 238 This course is required of all Fine Arts compositional principles based on nature, Abstract Painting majors. Studio work will introduce the chance, and geometry. 6 hours student to the domain of painting through 3 credits projects that cover not only the basic PT 227 The genesis of abstraction can be nature, elements of form, color, and technique, but Figure Painting idea, emotion. An abstract painting is one in also the basic conceptual challenges unique to 6 hours which the pictorial form is primarily a painting. Students will be exposed to the 3 credits product of invention and imagination. It origins and purposes of paintings and the A studio course that develops increasing may or may not reflect a reality outside itself. range of possibilities offered by both authority in representing figures in pictorial Assignments investigate a range of concepts, traditional and contemporary approaches. art. Through studio projects the student sources, and procedures. becomes more aware of the various issues to PT 211 be considered in creating human figures. PT 240 Painting Studio Pictorial qualities such as volume, gesture, Materials and Techniques 3 hours weight, scale, distance, color and tone, figure- 3 hours 1.5 credits ground relationships and compositional 1.5 credits A general study of painting subjects, such as grouping and intervals will be explored This course concerns itself with the materials the still life, landscape, the city, the human through numerous small works and one or and processes used in making pictorial works figure and its environs. This course usually two larger projects at the end of the semester. of art. Information on the appropriate use of will include a subtitle, such as Figure in the Assignments lead students to respond materials, such as pigments and painting Landscape, which defines the thematic basis directly to models, to construct images from supports, is given and explored by the for the studio projects. various sources, and to investigate and students. This course delves into materials emulate different stylistic possibilities and processes to create aesthetically signifi- 178 through examination of master works. cant surfaces. PT 241 PT 402 A MFA in Painting Color Studies Senior Painting 3 hours 6 hours The following courses are open to students in the 1.5 credits 3 credits summer MFA program only. Each major summer Studio work and independent projects will This course promotes the individual’s studio concludes with an assessment of and consider the purposes and effects of color development of identity as a painter. It planning for the work to be completed as two organization, color perception, and color simulates the studio based circumstance that independent studios during the remainder of the theory. Color will be approached as emotive, the painter is likely to maintain as a academic year. A winter review weekend will be symbolic, descriptive, and structural. professional artist. The painter is the scheduled to assess progress of the fall independent architect of the place where he or she will studio work. PT 245 initiate short or long term projects as needed. Figure Drawing and Modeling Within this context, the senior painting PT 610 major consolidates and develops issues that 3 hours Major Studio I 1.5 credits have emerged from coursework and study of prior and contemporary art. 5 credits This course is based on the concept that Evaluation of the student’s artistic involve- drawing and modeling are mutually One-on-one weekly critiques from faculty, monthly senior group critique, and periodic ment, projecting and testing options for the supportive. Students draw from the model direction of the student’s graduate work. using a variety of materials and approaches. critiques from visiting artists insure the They model in clay. Emphasis is placed on student diverse response to recently devel- oped work. The senior painting faculty may PT 611 the exploration of intentions and concepts, Major Studio II and the development of visual perception. assign specific projects if the student’s initiative requires broadening or focus. 5 credits Prerequisites: PT 302 A/B, and FA 333 A/B. Further exploration of the options, with PT 264 increased awareness of theoretical issues and Mixed-Media Drawing and Painting personal vision. 3 hours PT 402 B 1.5 credits Senior Painting 6 hours PT 710 A diversity of drawing and watercolor Major Studio III materials and techniques will be explored, 3 credits Continuing on the structure of PT 402 A, 5 credits discovered, and invented in order to develop a Greater focus in the student’s work, with a versatile repertoire of drawing skills. the painting major formulates a senior thesis project. Working with senior faculty who view to completing the personal repertoire of read and critique early drafts, the student skills and expression in the medium needed PT 269 to undertake a thesis project. Collage: The Constructed Image develops a formal, written thesis, and a body of artwork that will be presented at the end 6 hours of the term in a senior thesis panel and PT 711 3 credits exhibition. This panel is comprised of studio Major Studio IV Studio projects are assigned which promote faculty, liberal arts faculty, and student peers. 5 credits the development of images through the Planning and initiation of a sustained body of aggregation of fragments. Collage as a PT 403 mature work to be presented in a thesis principle of construction reexamines Drawing III exhibition during the following summer. compositional notions of unity and harmony 6 hours and can involve the interaction of diverse 3 credits and incongruous materials, methods, styles The course centers on the student’s personal and/or images. interpretation of the human figure. Various conceptual and perceptual modes are offered PT 302 A/B for exploration and understanding according Junior Painting to the student’s needs. The student is expected 6 hours to formulate, develop and seek authority in a 3 credits particular mode or modes relevant to him/her. Studio activity that develops a professional The pictorial concerns under general scrutiny working routine in the student, who is are: the figure and its environment; interval encouraged to show increasing personal and gesture, the various approaches and initiative and direction. Regular critiques on possibilities in color and surface. both an individual and group basis will Prerequisites: FA 222 A/B. connect the student to the values of the past and the present, stimulate interest in the PT 451 major questions of our time, and provide Advanced Painting Projects resources for progress. Visiting artists will be 3 hours invited to participate through lectures and 1.5 credits studio critiques. Painting assignments dealing with the larger issues of the format and language of painting. Students are expected to give individualized responses to these issues and convene in group critiques to discuss the results. Prerequisite: FA 333 A/B. 179 SC 241/242 SC 421 Sculpture Introduction to Sculpture Projects Metals 6 hours 3 hours All Sculpture classes are open on a studio 3 credits 1.5 credits elective basis if prerequisites are met and space An open studio oriented toward helping the Forming metal has contributed much to is available. development of individual initiative. How the history of sculpture, particularly in the ideas are transformed into sculptural present, where the idiom has become as SC 101 statements through aesthetic reasoning and familiar as carving and modeling. Concur- the internal logic of a sculpture’s color, rently offering both basic and advanced Freshman Sculpture material, and physical construction. technical instruction in welding and forging, 3 hours using both ferrous and non-ferrous metals, this 1.5 credits SC 260 A/B course is concerned with both the technical This course is an introduction to sculptural and aesthetic aspects of metal sculpture. thinking and methods using a variety of Structure of the Figure 6 hours materials and processes, including modeling SC 431/432 and fabrication. Form-making options are 3 credits undertaken that are especially suited to An anatomic and morphological analysis Advanced Figure Modeling acquaint beginning students with the of male and female bodies for artists through 6 hours diversity of sculptural activity. a three-dimensional constructional method. 3 credits Covered are proportions, anatomic structure, For students seriously involved with the SC 201/202 surface topology, morphological variation, figure, this course provides an atelier to and the body in movement. This course continue figure modeling on increasingly Sculpture I is directed toward two-dimensional artists advanced levels, and a context to help 6 hours as well as sculptors, and what is stressed are formulate a personal figurative sculptural 3 credits the means by which the body’s salient idiom. Works are sculpted at various scales This introductory course emphasizes the features can be recognized from any view- and independent projects are undertaken in fundamental and formal aspects of sculpture. point in any pose. consultation with the faculty. Critiques Projects are assigned to help the student involving the meaning and sculptural experience and understand the unique SC 321 significance of the works are an integral part expressive values of mass, space, plane, line, of the ongoing class activity. texture, along with such visual phenomena as Carving 3 hours Prerequisites: SC 223, SC 231, and SC 232, balance, rhythm, scale, movement, and or by permission. transformation. This course also serves to 1.5 credits This course introduces the student to stone introduce the student to a variety of materials SC 433 and techniques. Assigned projects, group carving, one of the basic methods of forming critiques and slide lectures are a standard sculpture. Students learn to prepare, Projects in Figure Modeling part of this course. maintain, and use the tools of the carver. 6 hours They are introduced to the characteristics of 3 credits SC 220 A/B suitable carving materials. Emphasis on the exploration of the formal and expressive SC 441/442 Molding and Casting potential of carved stone. 3 hours Advanced Projects 6 hours 1.5 credits SC 401/402 This course sequence covers processes and 3 credits techniques utilizing plaster, rubber, plastics, Sculpture III This course provides a studio context clays, and wax for making hard and flexible 6 hours where maturing, self-initiated areas of molds and for casting sculpture in durable 3 credits concentration in sculpture can be developed materials. It also provides a thorough Terms like site-specific, monumental, genre, to fruition on an advanced level. Whatever foundation in foundry practices, including narrative, emblematic, environmental, etc., the direction, a critical emphasis is placed wax preparation, investing, pouring bronze or reflect the cluster of types of sculptural through both open and devised assignments aluminum, chasing, finishing, and patinating imagery. This studio course is concerned on how materials and forms compatible to finished metal casts. with the ideational and technical issues raised personal statements are found. by various types of sculptural imagery which Prerequisites: SC 241 and SC 242. are assigned in turn. What is stressed in each case is the relationship that sculptures have with the context they exist in and the purpose they serve. Prerequisite: SC 202.

180 MFA in Sculpture TH 109 A/B Theater Arts Voice and Speech for Actors I-II The following courses are open to students in the 3 hours summer MFA program only. Each major summer TH 100 A/B 2 credits The Alexander Technique and Linklater studio concludes with an assessment of and Acting for Non-Majors planning for the work to be completed as two exercises are the basis of a course designed to 1.5 hours help the student find his/her “natural voice,” independent studios during the remainder of the 1 credit academic year. A winter review weekend will be and to integrate body, breathing, voice, This course introduces the non-actor to thought and feeling into expression through scheduled to assess progress of the fall independent improvisation, character development, and studio work. speech. The student is given a practical the basic idea of action and objective in understanding of the voice and how it works. performance. The first four weeks acclimate SC 610 Tensions, which inhibit primary impulses, are the new actor to being expressive in a group uncovered and dismantled. The function of Major Studio I using body and voice through improvisation, 5 credits the articulators is studied and they are theater games, movement; breathing and examined for blocks and exercised for release. Evaluation of the student’s artistic involve- relaxation techniques are also taught. The ment, projecting and testing options for the student is introduced to script analysis, write TH 111 direction of the student’s graduate work. and develop monologues, and create dramatic characters for performance. Grading is based Makeup SC 611 on class participation and progress with the 1 credit Major Studio II work on monologues. The course will focus on cosmetic application 5 credits combined with thorough exploration of the Further exploration of the options, with TH 103 A/B relationship of appearance to character. The increased awareness of theoretical issues and Acting Studio I-II course will emphasize the total visual impact of the character on the audience, discussing in personal vision. 6 hours depth the contribution of props and costume 3 credits to the overall effect. The student will be SC 710 An introductory studio focusing on the given clear directions on the basic techniques Major Studio III fundamentals of acting, basic skills for stage including methods and materials for all types 5 credits communication, voice and movement of stage makeup, period makeup, fantasy, and Greater focus in the student’s work, with a exercises, centering techniques, and exercises the use of three-dimensional makeup and view to completing the personal repertoire of designed to increase physical and emotional prosthetic makeup. skills and expression in the medium needed stamina, identify and strengthen poor to undertake a thesis project. technique, develop focus and concentration, and to introduce the student to the demands TH 114 SC 711 of the theater. In the process of demystifying Mask Characterization Major Studio IV the craft, the student discovers the energy, 3 hours 5 credits power, and vulnerability of self. 1 credit Planning and initiation of a sustained body of Introductory course in character development mature work to be presented in a thesis TH 103 L focuses on a process designed to release and exhibition during the following summer. Crew open the student’s emotional and physical 2 hours range, stimulate the imagination, place great O credits emphasis on physical actions, acting with the whole body, and ridding the student of self- TH 105 A conscious mannerisms. Through the use of oversized masks (and a series of challenging Stage Combat I exercises), the student is allowed the freedom 3 hours to become someone else. The work aims to 2 credits integrate the student’s skills with his/her This introductory course teaches the instincts, allowing impulses and the integration of aggressive acting intent and imagination to flow in conjunction with a safe combat technique using both the flexible and vulnerable body. The work unarmed body and the knife. culminates with the presentation of a fully realized character; a synthesis of the entire TH 105 B semester’s work. Stage Combat II 3 hours 2 credits This introductory course teaches the integration of aggressive acting intent and safe combat technique using a saber or single rapier.

181 TH 115 A/B TH 122 A/B TH 203 A/B Movement for Actors I-II Music Skills I-II Acting Studio III-IV 1.5 hours 3 hours class 6 hours 1 credit 1 hour lab 3 credits Introduces basic movement vocabulary in 2 credits This course continues the work started in modern dance using, primarily, basic Skill training in sight reading, ear training, TH 103. Sensory/emotional work and their improvisational technique. The course is keyboard and music theory, oriented to the relation to characterization is further designed to provide the student with needs of the musical theater performer. First explored, leading to an in-depth study of awareness of his/her body and the basic skills year focuses on rudiments of notation, motivation and subtext. Sensory, emotional of movement and dance, such as stretching, pitches, intervals, rhythms and simple chords. and adaptation exercises, as well as improvisa- breathing, posture, coordination, balancing, Students learn to read from “lead sheet” tion and two-character scenes are used to etc. The course also allows student the notation. Examples are drawn from musical deepen the actor’s ability to execute honest experience of creative application of move- theater and classical repertoire. In-class and purposeful stage action and communica- ment and movement expression through exercises and drills are supplemented with tion. Emphasis is placed on the “truth of the various forms and structures of improvisation. computer-based instruction and keyboard lab. movement.” Both performance and personal Each semester concludes with a presentation Required of all Musical Theater students. journals are maintained on a continuing basis, of a creative project which emphasizes and outside rehearsals on scenes are expected. movement in conjunction with other TH 141 A/B All scene work is directed by the instructor, theatrical forms. Voice for Musical Theater I-II using individualized hands-on approach. 1.5 hours TH 116 A/B 1 credit TH 205 A Dance for Actors I-II An introduction to the fundamentals of vocal Stage Combat III 1.5 hours technique, vocal anatomy and vocal perfor- 3 hours 1 credit mance for the musical stage. Examination of 2 credits A foundation course for actors which uses various vocal styles used in the musical This intermediate course teaches the basic Vaganova ballet technique to develop theater, past and present. integration of aggressive acting intent and alignment, flexibility, coordination and Open to Musical Theater majors only. safe combat technique using a broadsword discipline, and introduces the actor to the and rapier-and-dagger. movement vocabulary of this tradition. TH 142 A/B Prerequisite: TH 105 B. Development of body awareness with TH 242 A/B attention toward the verticality, two TH 342 A/B TH 205 B dimensionality, control and restraint of ballet. TH 442 A/B Stage Combat IV Performance projects at the end of semester. Voice Lesson 3 hours 1.5 hours 2 credits TH 119 A/B 1 credits This intermediate course prepares the student TH 219 A/B Individual (and, occasionally, small group) for the National Stage Combat Proficiency TH 319 A/B instruction in vocal techniques appropriate Test adjudicated the last day of class by a TH 419 A/B for the musical theater, culminating in a jury Fight Master from the Society of American Business of the Arts examination each semester. Fight Directors. This test includes unarmed 1 hour Required of all Musical Theater majors. combat, rapier-and-dagger, and broadsword 1 credit integrated into a character-specific scene of Exploration of the business and legal aspects TH 150 A/B dramatic conflict. of theater and the actor’s career: the roles Dance for Musical Theater I-II Prerequisite: TH 205 A. of agents, managers, producers, and manag- 3 hours ing directors are explored. Guest lecturers 1 credits from the field conduct seminars on various Dance technique training oriented to the topics such as unions, contracts, and starting specific needs of the musical theater per- theater companies. former. Classes in jazz and ballet build strength and awareness and extend the student dancer’s physical and expressive range. Required of all Musical Theater majors.

182 TH 209 A/B TH 222 A/B TH 309 A/B Voice and Speech for Actors III-IV Music Skills III-IV Voice and Speech for Actors V-VI 3 hours 3 hours class 3 hours 2 credits 1 hour lab 3 credits During the course of the year the student is 3 credits The foundation of this year’s work is detailed expected to achieve a high degree of Continued skill training in sight reading, ear text analysis of verse drama and heightened proficiency in General American pronuncia- training, keyboard and music theory, oriented prose; particularly, though not exclusively, tion based on Skinner. Resonance, placement to the needs of the musical theater performer. the plays of William Shakespeare. Through and range are developed, supported by the Examples are drawn from a wide range of close study of meter, language and structure, Alexander Technique and the exercises of musical repertoire. In-class exercises and the student builds a familiarity with Catherine Fitzmaurice. With reference to the drills are supplemented with computer-based Shakespeare and, through constant practice exercises and writings of Cicily Berry, work instruction. and exercises (Berry and Fitzmaurice), begins on vocal interpretation of text, Required of all musical theater students. develops the specific vocal skills to play him starting with contemporary American poetry with clarity and intelligence while meeting and drama, moving through the heightened TH 241 A/B the emotional demands his work places prose of Richard Brinsley Sheridan, to Voice for Musical Theater III-IV upon the actor. Shakespeare. Particular attention is paid to 1.5 hours ending consonants, equating length of 1 credit TH 311 A/B thought and length of breath, key wording, Foundations of singing-acting. Students Theater History I-II and playing an action. are introduced to techniques for handling 3 hours the unique challenges of acting while 3 credits TH 213 singing. Vocal technique and acting A two-semester survey of the history of Script Analysis technique are integrated through intensive theater: its dramatic literature, theater 3 hours work on solo literature, musical scenes, structures and production methods, styles of 3 credits exercises and improvisations. acting, and historical trends, through readings, Introduces the student to practical analysis of Prerequisite: TH 103, TH 122, TH 141. discussions, and lectures. The course will texts/scripts for enhancing the move from explore the history of theater through its script to performance. The course explores TH 250 A/B artistic, spiritual, political and cultural sources the concepts of conflict, human action, Dance for Musical Theater III-IV of empowerment. Students are provided with character, action/reaction cycle, objective, 4.5 hours the historical background to apply acting, dramatic structure, translations, and resources 2 credits directing, and designing techniques to the external to the script (historical perspective). A continuation of the previous year’s dance theater of other periods of history. At the course’s end, the student should training. Technique training in jazz, tap, possess a firm understanding of the process ballet, social dancing, and related subjects is TH 312 A/B involved in script analysis, be thoroughly continued, with focus on the technical needs Musical Theater History I-II familiar with the composite types of dramatic of the musical theater performer. 3 hours literature, begin to understand the nature of Prerequisite: TH 150 A/B. 3 credits an informed aesthetic, and understand the Required of all musical theater majors. A two-semester survey of the history of the consequences of each element of a perfor- American musical theater in the nineteenth mance on its audience. TH 303 A/B and twentieth centuries. Students develop Acting Studio V-VI insight into the writers, performers and TH 215 A/B 6 hours theater artists who created the legacy of the Movement for Actors III-IV 3 credits musical theater in America, and examine 3 hours The overall emphasis of the course is on representative works from a variety of 2 credits theatrical styles of acting. Shakespeare, periods. Students undertake research projects Movement for actors utilizing intensive melodrama, and clown work among others focusing on major performers, writers, physical-emotional improvisation work, are usitlized to develop the student’s ability directors and choreographers. Artists and including exercises in calisthenics, aerobics, to relate to an audience in extremely their work are studied in print and on audio rhythmic movement, combinations, center theatrical styles. and video recordings. floor work, stretches, and the use of physical Corequisite for Musical Theater majors: TH 318 impulse to expand emotional range. TH 305 A/B Musical Theater Repertory. Stage Combat V-VI 3 hours 2 credits This advanced combat course explores the text-specific challenges of fight direction and fight performance using a wide variety of weapons. Weapons and texts change each semester. Prerequisite: National Stage Combat Proficiency Test Recognition.

183 TH 315 A/B TH 341 A/B TH 403 A/B Movement for Actors V-VI Voice for Musical Theater V-VI Acting Studio VII-VIII 3 hours 1.5 hours 6 hours 2 credits 1 credit 3 credits A course sequence designed to aid the student Styles of singing-acting. Students apply The senior acting student will be prepared in developing ease and flexibility of move- integrated singing-acting technique to for his/her entry into the theater profession ment through increased awareness of habitual a diverse range of period styles of musical through a research and practicum approach movement patterns. The student is guided theater. Solo literature from the 1860’s to interview and audition techniques. through the process of substituting useful through the present day is examined. Research into the type of theater companies movement patterns for those that interfere Prerequisite: TH 203 A/B, TH 222 A/B, available, theater and casting agents, with comfort and freedom of expression. A and TH 241 A/B. showcase opportunities, useful sources for vocabulary and a consistent technique is jobs, of theater companies available, theater developed which the student can apply to TH 350 A/B and casting agents, showcase opportunities, stage movement, vocal work, dance, etc., and Dance for Musical Theater V-VI a survey of Actor’s Equity Association, a greater kinesthetic sense enhances expressive 3 hours and current trade papers are included, as movement and relaxed, controlled speech. 1 credit well as an actual experience of interviewing Continued study of ballet and jazz technique and auditioning for a play director or TH 318 A/B and musical theater styles. casting agent with valuable critique Musical Theater Repertory Prerequisite: TH 250 B. following. Emphasis in the first semester is 5 hours Required of all musical theater majors. placed on the senior actor’s one-person 2 credits performance projects. Scenes, songs, and dances are drawn from TH 400 A/B the diverse musical theater repertory, Acting For Film I-II TH 405 A/B enabling the student to develop versatility 3 hours Advanced Combat and a sense of style. 3 credits 3 hours Prerequisite: TH 222 A/B, TH 241 A/B, Designed for acting students who want to 2 credits and TH 250 A/B. gain knowledge and experience in acting for This advanced course explores the text- Required of all musical theater majors. film and television. The primary goal of the specific challenges of fight direction and fight performance using a wide variety of weapons. TH 320 class is to bring out each actor’s natural talent which is often the most “marketable” in the Weapons and texts change each semester. Musical Theater Performance film and television industry. Each actor Prerequisite: TH 305 A/B. 3 hours works on a monologue or scene chosen in 2 credits consultation with the instructor to make his/ TH 409 A/B An elective course for actors, singers and Voice and Speech for Actors VII-VIII dancers in which students can explore the her work in front of a camera compelling, craft of the singing actor through exercises, secure, and believable. Special video sessions 3 hours improvisations and repertoire study. Students will take place throughout the course to give 3 credits will learn and rehearse solos, scenes and each participant a valuable, hands-on The senior year involves the study of the key ensembles from the musical theater repertoire. experience in acting for the camera. The dialects of North America and the British Emphasis is on developing honesty, ease and actors are able to see and evaluate each other’s Isles using the International Phonetic expressiveness in musical theater performance. film work during a special screening session Alphabet as a guide. The dialects chosen are Prerequisite: One year of voice training, one year at the end of the course. Special benefit: the those for which there is most demand in of acting training. actors use excerpts from their monologue/ dramatic literature, consequently some time scene for a “video audition” commonly is spent on “Standard British,” “Southern TH 325 required by today’s casting directors, actor’s Irish,” “American Southern,” and New York. The Art of Oral Interpretation agents, and film/TV directors. The policy is to deal with approximately 3 hours eight to ten dialects in depth. Emphasis is 2 credits placed on integrating an acquired dialect The course examines the elements of form into scene work. and structure in various kinds of literature, and appies that analysis to the craft of the TH 415 A/B performance. Studies begin with fairy tales, Movement for Actors VII-VIII investigate modern and contemporary 3 hours retellings of fairy tales, and continue with 2 credits modern and contemporary short stories. The Continuation of TH 315 A/B. techniques of oral interpretation–different than those used in a studio acting class–focus on the meaning of literature via suggestive vocal dexterity and subtlety of revelation, rather than explicit action. Students are required to write papers analyzing the literature they choose to perform. The course will close with a class performance.

184 TH 417 Directing Studio UArts Course 3 hours 3 credits UA 301 An introduction to the basic fundamentals of directing including a thorough investigation Entrepreneurship and Business Practices of the directing vocabulary, exercises in space 3 hours and composition, exploration of scripts from 3 credits the director’s point of view, and practical This course is intended to serve as a general experience with ground plans. The student is introduction to the principles and practices asked to demonstrate his/her understanding that are common in the business world and of blocking values and textual analysis by essential to entrepreneurial practice. conceptualizing and then staging simple Students are exposed to the basic concepts, scenes. The second semester introduces the skills and resources necessary to build and basics of acting coaching and is coordinated maintain a small business. Using a hypo- with the script analysis and dramatic thetical or actual business idea as a starting criticism. Semester culminates with student point, students will develop proposals, staging and coaching a medium-length scene identify an audience, develop a marketing from a modern play. plan, address staffing, technology and real estate needs, discuss taxes, and the legal TH 441 A/B aspects of intellectual property and entrepre- neurship, emphasizing the resources that exist Voice for Musical Theater VII-VIII locally and nationally to assist them in their 1.5 hours pursuits. Writing for business, and computer 1 credit and presentation skills will also be cultivated A senior seminar in singing-acting. Students throughout this course. work on more demanding repertoire and on special performing challenges such as cabaret theater and auditioning. A Senior Showcase is prepared and performed, and professional outplacement issues are addressed. Prerequisite or co-requisites: TH 303 A/B, TH 318 A/B, and TH 341 A/B.

TH 450 A/B Dance for Musical Theater VII-VIII 3 hours 1 credit Continued study of ballet and jazz technique and musical theater styles. Prerequisite: Dance for Musical Theater VI. Required of all musical theater majors.

TH 449 Internship 3.0-15.0 credits

TH 999 Independent Study

185 WM 219 WM 315 Writing for Film Writing for Film Adaptation from Fiction 4 hours 3 hours and Television 3 credits 3 credits A studio writing class introducing students A writing course developing the craft of WM 111/112 to the basic elements of screenwriting for adaptation, focusing on the use of fictional Traditions of Narrative I, II film. Students are required to write dramatic material as the source for the dramatic 4 hours exercises in class, as well as outside of class. form. The various genres of fictional 3 credits Supplemental readings are discussed and film material, including novels and short stories A two-semester studio writing class highlights shown to assist the students in are examined and students learn to handle examining different genres of narrative prose their writing. the conceptual and technical challenges adapted in writing for media. Literary works Prerequisites: HU 110 A/B. inherent in the process of altering written read and analyzed include, “coming of age,” text for the mediums of television and film. satire, magical realism, anti-hero and hero WM 241 Prerequisite: HU 110 A/B or permission fiction. Students are required to write Arts of the Media of the instructor based on a review of a portfolio extensively in class, as well as out of class, 3 hours of written work. adapting the narrative and literary character- 3 credits istics of the works discussed. A course designed to introduce students to WM 316 Prerequisite: Permission of the instructor and the various production values which directly Adaptation from Non-Fiction review of a portfolio of written work. influence the character of the dramatic 3 hours product. Subjects of study include music, 3 credits WM 211/212 cinematography, art and production design, A writing course developing the craft of Structure of Drama I, II editing, sound, costume design adapting nonfictional sources to the dramatic 4 hours and special/ computer effects as they relate and documentary form. Various genres of 3 credits to the writer’s intention and the quality of nonfictional material, including, but not This two semester course is divided into the final product. exclusive to, newspapers, periodicals, two parts. The first part introduces basic Open to all students. autobiographies, biographies, memoirs, dramatic elements including character, letters, diaries, and historical texts are conflict and setting. Students will WM 251/252 examined. Students learn to manage the apply these tenets to their own creative Narrative Cinema I, II conceptual and technical challenges inherent written work in a workshop environment. 6 hours in the adaptation of nonfiction for television The second part of the course focuses 3 credits and film. on the analysis of dramatic scripts of film A two-semester course examining and Prerequisite: HU 110 A/B and permission and television. analyzing film through the perspective of of the instructor based on review of a portfolio of Prerequisites: HU 110 A/B and WM 112 narrative structure. Various forms, schools of written work or WM 112. or permission of the instructor and review of a film, styles, and genres from both the portfolio of written work. domestic and international film community WM 317 are studied chronologically, emphasizing the Episodic Television Writing WM 213 influence and integration of the various forms 4 hours Scriptwriting with one another. 3 credits 4 hours The course requires supplemental weekly A studio writing class which analyzes the 3 credits screenings of the work being studied. specific genre of episodic television writing. A studio writing class designed for advanced Students who have successfully completed Students will read scripts and view examples students in writing for film and television. HU 248 A/B are not eligible to enroll for credit of various genres in the form, and be Students focus on three-act narrative in this course. working in teams to create original written structure in film, as well as various formats Open to all students. work. All students individually will be for television writing. Scene and sequence required to write one full-length script by structure are highlighted. Students are WM 253 the end of the semester. required to write in-class dramatic exercises, History of Television Prerequisites: HU 110 A/B and Junior status as well as written assignments outside of 3 hours in the major or permission of the instructor based class. Workshops occur in class, along with 3 credits on a review of a portfolio of written work. supplemental readings and film highlights. A survey course designed to provide an Students are required to produce an outline/ overview of the medium of television. The treatment and a fully developed short script. impact of television, since its inception, has Prerequisite: HU 110 A/B and WM 112; become increasingly pervasive and influenced or WM 219; or permission of the instructor based an entire society through its ability to on a review of a portfolio of written work. educate and entertain. Video examples of the medium are supplemented by class discussion and reading assignments. Two term papers, a midterm and final exam are required. Open to all students.

186 WM 321/322 WM 421 Advanced Screenwriting I, II Business of the Writer 4 hours 3 hours 3 credits 3 credits A studio writing course preparing the student A course providing the practical knowledge for the entire process of crafting a full length specific to the world of professional writing in script for television, film or theater. In the media. Subjects include professional business first semester, students develop a concept, practices, the selection and importance of a pitch the project, prepare an outline/ literary agent, resume writing, the “art of the treatment for a full length work and draft the pitch,” the differences between working as a first act. The second semester is devoted to free-lance writer and life as a staff writer, and the completion of the full-length work and the respective issues facing writers in the the revision process. various fields of media. Visiting professionals Prerequisites: WM 213 or permission of from the field of writing conduct seminars the instructor. and discussions, lending their expertise to the course. WM 323/324 Prerequisites: MM 311 or WM 322 or WM 324. Advanced Playwriting I, II 4 hours WM 431 3 credits Interarts Project A studio course preparing students to write 6 hours a full-length play. The first semester focuses 3 credits on development of a theme and preparation of A course providing an opportunity for writers a draft of the first act. The second semester is and students throughout the University to devoted to the completion and refinement of collaborate on a semester-long project. the piece, resulting in a full-length work. Students jointly submit project proposals for Prerequisites: WM 213 or permission of approval and develop them to completion. the instructor. Emphasis will be placed on the students’ ability to consider the artistic and technical WM 341 implications of the combined media while Acting/Directing for Writers successfully integrating art forms in a 3 hours considered and polished final piece. 3 credits Open to all students with permission of A studio course addressing the collaborative the instructor. aspect of dramatic production involving writers, actors and directors. Students are WM 499 introduced to directing and acting, using Internship their own dramatic texts as the source 6 hours material. All students should have polished 3 credits dramatic scenes already written prior to the Seniors are placed with regional companies to beginning of the course. expose them to a real work environment in Prerequisite: WM 213 or WM 219. the field of media. Placements vary and can include local network-affiliated television WM 411/412 stations, public broadcasting stations, film- Senior Thesis I, II production companies or multimedia 3 hours manufacturers. A paper or journal chroni- 3 credits cling the experience is required upon A studio writing course centering on the final completion of the internship. writing project in the program and the Corerequisite: WM 421. Open to seniors only. development of the student’s portfolio of written work. Over the year, the student develops an outline/treatment and the completion of a full length work in the area of concentration in writing for media. Prerequisite: WM 322 or MM 311.

187 188 Board of Trustees The University of the Arts 1999-2000 Administration Dorrance H. Hamilton, Chairman Peter Solmssen, President Peter Solmssen, AB, JD President I. Gary Bard George A. Beach ’58 Virginia Red, BA, MA, MMus Provost Mary Louise Beitzel ’51 Sigrid Berwind Stephen Jay, BM, MM Dean, Philadelphia College of Performing Arts Irvin J. Borowsky Ira Brind Stephen Tarantal, BFA, MFA Dean, Philadelphia College of Art and Design Eleanor Davis Robert Ackerman, BA, MA, PhD Director, Division of Liberal Arts Deanna DeCherney ’66 Anne F. Elder Laura J. Zarrow, BFA, MSEd Assistant Provost for Academic Affairs Jane Scaccetti Fumo Charles B. Grace, Jr. Barbara Elliott, BA Director of Admission Marvin D. Heaps Stephen R. Holstad Anita Reece, BS Registrar Richard P. Jaffe, Esq. Barbara J. Kaplan Aquila W. Galgon, BA Director of Financial Aid The Honorable Bruce W. Kauffman Berton E. Korman John Klinzing, BS, MA, EdD Dean of Students William G. Krebs ’66 Carol Graney, BFA, MSLS Director of University Libraries Al Paul Lefton, Jr. Elaine Levitt John Trojan, BS, MBA, CPA Chief Financial and Administrative Officer Jeff Lotman Seymour G. Mandell Stephanie C. Chiappardi, BS, MBA Chief Advancement Officer Noel Mayo ’60 Francis J. Mirabello, Esq. Clifford Gillman, AB, MA, PhD Director of Technology and Ronald J. Naples Information Resources Adolf A. Paier Suzanne F. Roberts Steven B. Rossi Jerry J. Siano ’57 Harriet G. Weiss George A. Weymouth Albert E. Wolf

Life Trustees H. Ober Hess, Esq. Sam S. McKeel

Emeritus Trustees Nathaniel R. Bowditch Schuyler G. Chapin Thomas V. Lefevre Sondra Myers Ronald K. Porter William L. Rafsky Philip H. Ward, III Dorothy Shipley White

189 D Greenland, Theresa 113 Faculty Index Daley, William 60 Grothusen, Michael 59 Darway, Christopher 60 Guido, Anthony 69, 82 Davenport, Nancy 49 Gury, Al 68 A Deibler, Seán 102 Ackerman, Robert 49 Deneen, David 70, 113 H Adams, Michael 68 DeWitt, John F. 49 Haddad, Orlando 102, 110 Adkins, Paul 102 Dicciani, Marc 102, 109, 110 Hamilton-Spencer, Lori 64, 81 Adorno,Paul 74, 88, 90 Didier, Mary Ellen 49 Harrill, Paul 119 Agudelo, Juan Sebastian 49 DiMedio, Annette 96, 102, 109 Harris, Kevin 49 Akerley, George 70, 102 DiNardo, Robert 102, 110 Hartl, David 102, 110, 119 Allemann, Hans 67 DiPalma, Joseph 68 Hartley, Neil 112 Andrien, Ruth 96 Dockery, Sam 102 Hawkins, Adrienne 96 Dommert, Alice 85 Hays, Ronald 76 B Donahue, Larry 60 Heller, Nancy 49 Bach, Laurence 67, 70 Dooling, Michael 68 Heller, Susanna 63 Baguskas, Eugene 63 Dornfeld, Barry 119 Hendricks, Keith 113 Baird, Irene 112 Drodvillo, Debra 67 Henriques, Rex 113 Baker, John 49 Druckrey, Inge 67 Herdman, Gerald 59, 63 Barrick, Rick 70 Dupree, James 64 Hiebert, Kenneth 67 Barton, Carol 64 Durso, Samuel 49 Hobbs, Jr., Johnnie 112 Bazell, Myra 113 Hotchkiss, Richard 102 Bedno, Ed 85, 88 E Howard, Eugene 49 Bedno, Jane 85, 88 El-Omami, Anne 74, 85, 86, 88, 90 Howard, Sabin 68 Beresin, Ann Richman 49 Episcopo, Domonic 70 Howey, David 112 Berg, Bob 102, 110 Eubanks, Robin 110 Hunt, Jamer 49, 69, 82 Berg, Stephen 49 Berger, David V. 59 F J Bertini, Peter 96 Farnum, Richard 49 Jaffe, Jeanne 66, 91 Beskrone, Steve 102 Farr, Chris 102 Jaffe, Steven 59, 63 Biancosino, Anthony 102 Fedchock, John 102, 110 Jahn, Roland 60 Blake, John 102, 110 Felton, Richard 67 Jernigan, John 49 Bley, Thomas 82 Fielder, Mari 113 Johnson, Elsa 59, 66 Bogle, Elizabeth 85 Finney, Martha 49 Johnson, Lois M. 64, 81 Boston, Lowell 59, 70 Fischbeck, Manfred 96, 113 Joyce, John 49 Boulden, Mary Beth Quinn 49 Fish, Alida 70 Brandt, Susie 60 Fishman, Janet 49 K Brecker, Randy 102, 110 Fogel, Harris 70 Kanter, Gabrielle 60 Brosh, Robert 102 Ford, Vivian 74 Kantra, Nancy 96, 113 Brown, Bill 59 Foulks, Renee 68 Karmatz, Anne 49 Brown, Joan Myers 96 Foxman, Diane 74, 90 Karros, Alec 60, 91 Bruno, Jimmy 102, 110 Frazure, Laura 66 Kennedy, Mary Ellen Grant 113 Burnette, Allegra 85 Fuld, Rachel 60 Kerber, Richard 102, 109, 110 Burnette, Charles 82 Funderwhite, Dorothy 67 Kerber, Ronald 102, 110 Kern, Jeffrey 102, 109 C G Kery, Peter 67 Campbell, Mark 59 Gallagher, James 102, 110 Kettner, David 59, 63 Cantera, Christine 68 Garton, William F. 102, 109 King, Paul 68 Carbone, Denise 64 Garvin, Christopher 119 Knebl, John 102, 109 Carlano, John J. 70 Gelles, Judy 70 Knobler, Nathan 63, 64, 81, 82, 85, Case, Susanne 112 Genovese, Richard 102, 110 86, 88, 90 Cassells, Caroline 49 Gerber, Nancy 76 Kohler, Lucartha 60 Chittum, Donald 102 Germer, Mark 102 Koresh, Ronen 96 Chollak, Hope B. 119 Gerth, Jean 69 Kruty, Peter 81 Church, Sharon 59, 60 Giacabetti, Thomas 102, 110 Kyle, Hedi 64, 81 Citron, Harvey 66 Giguere, Ralph 68 Clark-Schock, Karen 76, 86 Gilbert, Charles 113 L Clearfield, Andrea 102 Gist, Linda 68 Lam, Anita 49 Cleighton, Karen 113 Glanden, Don 102, 110 Lang, Michael 49 Coleman, Connie 70 Glazer, Susan B. 96 Lanning, Joan 96 Columbus, John 70 Goldberg, Louis 113 Larimore, Jack 60 Connolly, John 67 Goltz, Janice K. 102, 109 Larson, Cris 49 Conwell, Charles 113 Goltz, Robert D. 102, 109 Lefevre, Sharon 49 Cooper, Charles 59 Goodman, Eileen 63 Lekberg, Barbara 66 Cox, Adam 49 Gordon, Regina 102, 109 Lewandowski, Niles 59 Cox, Matthew 96 Gorny, AP. 91 Lewis, Earl 68 Cuidet, Elizabeth 49 Gostin, Arlene 74, 86, 90 Lister, Peter 65 Curry, Lawrence 49 Graber, Kathleen 49 Longhauser, William 67 Graham, David 70 Love, David 59 Green, James 64, 81 Lynn, Jenny 70 190 Greenland, Terry 96 M Q T MacConnell, Kevin 102, 110 Quaile, Michael 102 Tarantal, Stephen 68 Mail, Barbara 60 Terruso, Gene 112 Makins, James 60 R Thomas, Craig 102, 110 Marshall, Stacey 67 Rabbai, George 102, 110 Thomas, David 102 Martin, Kip 96. 113 Raine, Patricia 102, 113 Thomas, Pat 96 Martin, Mary 49 Ramey, Kathryn 70 Tocchet, Mark 68 Martinez, Gabriel 70 Rice, Robin 50, 81, 85, 91 Tomlinson, Lynn 71 Masson, Gabriel 96 Robert, Catherine 50 Townsend, Clista 112, 113 Mausner, Rachel 112 Robinson, LaVaughn 96 Tracy, Neal 113 Maxwell, Gail 49 Robinson, Leo 59 Mazzeo, Frank 102, 110 Rodriguez, Susan 74, 86, 90 U McCormick, Rod 60 Rondolone, Donna 50 Ulitsky, Fabian 50 McDaniel, Drucie 112 Rosati, Anthony 65 Updegrove, Thomas 113 McGovern, Robert 59 Rose, Kathy 71 McMahon, Scott 65 Rose, Peter 71 V McQuain, Kelly 49 Rossman, Michael 59 Van Keuren, Sarah 65 Mercuri, Patrick 102, 110 Rudin, Andrew 102, 109 Vandarakis, Connie 96 Metcalf, Bruce 49 Rudolph, Thomas 102, 109, 110 Vaskys, Petras 60 Miceli, Tony 102 Rudolph, William 50 Vassallo, Judith 50 Milder, Jonas 69, 82 Ruzicka, Pavel 69, 82 Veasley, Gerald 102, 110 Mitnick, Larry 59, 81, 82, 85, 86, 88, 90 Rydberg, Peter 102, 110 Viguers, Susan T. 50, 81 Moore, Carol 81, 82, 85, 91 Ryder, Jeff 119 Morgo, Jennifer 102 W Morillo, Bernardo 70 S Walsh, Diane M. 119 Muellner, Nicholas 70 Sachs, Sid 50, 91 Walter, J.D. 102 Myers, Chris 49, 67 Sakatini, Kenneth 74, 86, 88, 90 Ward, Stanley 50 Saler, Karen 59 Washington, Jr., Grover 102, 110 N Salicondro, Anthony 102, 109, 110 Wasko, Dennis 102, 110 Nakashima, Mashiko 66 Saper, Craig J. 50, 119 Watson, Faith 50 Neff, Eileen 63, 91 Saperstein, Elizabeth 119 Webster, William 50 Nero, Joseph 102, 110 Saylor, Steven 119 Weinberg, Carla 50 Newman, David 113 Schaechter, Judith 60 Weinberg, Wendy 71 Nichols, Gerald 63, 91 Schaeffer, Pearl B. 96 Weisberger, Barbara 96 Nichols, Martha 49 Schlemowitz, Joel 71 Weiss, Burton 50 Nikolic, Vladan 70 Schwass-Drew, Laurel 65 Wexler, Jayne 71 Nolan, Paul 49 Sciolla, Anne 102 White, Helena 112 Norman, Janis 74, 86, 88, 90 Seale, Sloane 119 Willett, Lee 67 Novelli, Martin 49 Seelig, Warren 60 Wolfe, David 85 Nugent, Jeanne 91 Sepinuck, Paula 96 Woodin, John 71 Sergeev, Mikhail 50 O Serpentelli, John 71 Y O’Reilly, Michael 70 Sherman, Jon 96 Yanoviak, Ken 71 Osayande, Jeanine Lee 96 Simon, Edward 102, 110 Simon, Marlon 102 Z P Singer, Philip 68 Zaccagni, Bill 102, 110 Paglia, Camille A. 50 Sklaroff, Carol Luppescu 96 Zelinsky, Chris 67 Panovski, Naum 112 Slenn, Suzanne 96 Zinman, Toby Silverman 50 Pap, Andrew 96 Smigiel, Frank 50, 91 Zizka, Jiri 113 Parker, Barry 66, 91 Smiley-Grace, Lee 112 Parker, Kris 60 Smith, Patricia M. 64, 81 Pasternak, Theodore 102, 109 Snow, Faye B. 96 Paxson, James 102, 110 Solot, Evan 102, 110 Pearce, Jeannie 70 Sorlien, Sandy 71 Pedicin, Jr., Michael 102, 110 Sperr, Portia Hamilton 88 Pedretti, Michael 113 Squillace, Louis 71 Pepe, Diane 59, 60 St. David, Wayne 96 Perkins, Dianne D. 50 Stasis, Patricia 102 Petto, Andrew 50 Staven, Karl 71 Phelan, Mary 65, 81 Stein, Andrew 50 Phillips, John 66 Stein, Leah 96 Pindell, Reginald 102 Stein, Robert 68 Pitts, Trudy 102, 110 Stern, Mike 102, 110 Posner, Aaron 112 Stetser, Richard 59 Porett, Tom 85 Stewart, Lizbeth 60 Posmontier, David 102, 110 Stewart, Patricia 50 Pryor, Peter 112 Superior, Roy 60 Pupura, Charles 119 Suplee, Barbara 74, 86, 88, 90 Purves-Smith, Phyllis 68 Swana, John 102, 110 Putterman, Boris 59, 63 Swanson, Jane 69 191 Advanced Computing and Simulation C Index Laboratory 53 Advanced Placement 11 Calendar, Academic 4 Advanced Standing 9 Campus Expression 35 A Advising, Academic 25 Campus Map 197 PCAD 54 Campus Security 33 Absence 28, 30 AICAD 57 Campus Standards Committee 39 See also – Attendance Alcohol and Drug Policy 34 Cancellations, Class 30 Academic Achievement/ACT 101 11, 32 Alumni Discount 14 Career Services 33 Academic Advising 25 Animation curriculum 72 CEEB Advanced Placement 11 PCAD 54 Course descriptions 172 Ceramics, Crafts curriculum 60 Academic Calendar 4 Animation Drawing Minor 55 Course descriptions 130 Academic Computing 42 Appeal 29, 40 MFA Summer Program 91 Academic Grievance Procedure 29 Application Notification 10 Course descriptions 134, 142, 146 Academic Honesty/Integrity 34 Application Process 8 Certificate in Dance 95, 98 Academic Progress 22 Graduate 13 Certificate in Music 101, 107 Academic Regulations 25 Art Education curriculum 74 Certificate, Post-Baccalaureate Crafts School of Dance 98 Course descriptions 126 Studio 13, 62 School of Music 103 Pre-Certification in 13, 56, 74, 90 Certification Program, Teacher 13, 74, 90 School of Theater Arts 113 Art Education, MA curriculum 86 Change of Address 29 Academic Review 28 Course descriptions 126, 146 Change of Enrollment 22 Academic Support Services 32 Extended Degree Option 90 Change of Grade 27 Academic Warning 11, 28 Art Therapy curriculum 76 Change of Major/Degree/College 29 Access to Student Records 36 Concentration 56 Change of Name 29 Accreditation 6 Course descriptions 128 Class Cancellations 30 ACT 101 Program 11, 32 Arts History CLEP 11 Acting curriculum 112, 115 Course descriptions 147 Closings, School 33 Course descriptions 181 Association of Independent Colleges of Art Code of Conduct 34, 42 See also – School of Theater Arts and Design (AICAD) 57 Code, Student 35, 42 Activities, Student 31 Attendance 30 College Level Examination Program 11 Address, Change of 29 School of Music 103 College of Art and Design 7, 52 Administration 189 School of Theater Arts 113 College of Media and Admission 8 Auditing a Course 26 Communication 7, 118 Advanced Placement 11 Audition, Credit by 11 College of Performing Arts 7, 94 Advanced Standing 9 Audition, Graduate 13 College of Textiles and Sciences, Philadelphia, Application Process 8 Automobiles 33 Cooperative Program 57 Audition, Credit by 11 Award Notification 21 Common Core, Liberal Arts 44 Conditional Admission 10 Communication BS curriculum 119, 120 Crafts Studio Post-Baccalaureate Course descriptions 129 Certificate 13 B Composition BM curriculum 101, 105 Credit by Audition or Portfolio 11 Course descriptions 165 Deferred Admission 10 Ballet curriculum 95, 97 Diploma curriculum 101, 106 Early Admission 10 See also – School of Dance See also – School of Music Freshman Applicants 8 Board of Trustees 189 Computing, Academic 42 Graduate Programs 13 Book Arts Minor 55 Computing, Guidelines for Responsible 42 Housing Deposits 10 Book Arts/Printmaking curriculum 64 Computing/Simulation Laboratory 53 International Baccalaureate 11 Course descriptions 175 Concentrations, PCAD 26, 55 International Students 12 MFA curriculum 80 Conditional Admission 10 Interview 8 Borowsky Center for Publication Arts 53 Conduct, Code of 34, 42 Portfolio, Credit by 11 Budgets 23 Continuing Education 43 Post-Baccalaureate Programs 13 Coordinate Degree Program, Pennsylvania Readmission 28 Academy of the Fine Arts 57 Residency Requirements 9 Counseling Department 31 Teacher Certification Program 13 Course Transfer Applicants/Application 9 Auditing a 26 Transfer of Credit 9, 13 Withdraw from a 27 Tuition Deposit 10 Undergraduate 8

192 Course Descriptions 125 Course Descriptions continued E Acting 181 Sculpture, MFA summer 142, 146, 181 Animation 172 Seminars, Graduate 146 Early Admission 10 Art Education 126 Social Studies, History and 147 Education Art Therapy 128 Summer Program (MFA) 134, 142, Art 56, 74, 86, 89, 90 Arts History 147 146, 179, 181 Dance 95, 98 Ballet 135 Theater Arts 181 Extended Degree Options 90 Book Arts/Printmaking 175 UArts Course 185 Museum 87 Ceramics, Crafts 130 Video, Film/ 172 Music 101, 104, 107, 108 Ceramics, MFA summer 134, 142, 146 Wood, Crafts 130 Visual Arts 89, 90 Communication 129 Writing for Film and Television 186 Electronic Media at PCAD 52 Crafts 130 Crafts curriculum 60 Electronic Media course descriptions 140 Dance 135 Course descriptions 130 Employment, Student 20 Dance Extension 139 Crafts Studio Post-Baccalaureate Enrollment Status 22 Drawing, Painting/ 178 Certificate 13, 62 Exchange, Graduate Study, Vermont Studio Electronic Media 140 Credit by Audition 11 Center 91 Fibers, Crafts 130 Credit by Portfolio 11 Exchange Student, PCAD 57 Film 172 Credit Distribution, PCAD 54 Exhibition Program, PCAD 52 Fine Arts 141, 175, 178, 180 Credit Duplication, PCAD Graduate 79 Exit Requirements, MAT in Music Foundation 143 Credit from Nonaccredited Institutions 11 Education 104 Glass, Crafts 130 Credit-Hour Ratio 45, 52, 94 Exit Requirements, Master of Music in Graduate Seminars 146 Credit, Insufficient Accumulation 22 Jazz Studies 104 Graphic Design 144 Credit, Transfer of 9, 13, 79 Expenses 14, 23 History and Social Studies 147 Curriculum – See specific Department, Extended Degree Options 90 Humanities (Liberal Arts) 147 Program, or School Illustration 161 F Industrial Design 158 Jewelry, Crafts 130 D Facilities Jazz/Theater Dance 135 Dance curriculum 95 Advanced Computing and Simulation Liberal Arts 147 Course descriptions 135 Laboratory 53 Language and Literature 147 See also – School of Dance Book Arts/Printmaking 64, 80 Master of Industrial Design 146, 160 Dance Extension 99, 139 Borowsky Center for Publication Master of Music in Jazz Studies 165 Dean’s List 28 Arts 53 MAT in Music Education, Declaration of Major, School of Dance 95 Exhibition Program, PCAD 52 MATPREP 165 Deferred Admission 10 Industrial Design, Masters of 83 MAT in Visual Arts 126, 146 Degree, Change of 29 Media Arts studios 53 Media Arts 172 Degree Requirements 30, 44 Museum Exhibition Planning and Metals, Crafts 130 Design Design 85 MFA in Book Arts/Printmaking 146, 177 Graphic Design 67 Printmaking/Book Arts 64, 80 MFA in Ceramics, Painting, or Illustration 68 School of Dance 95 Sculpture 134, 142, 146, 179, 181 Industrial Design 69 School of Music 100 Modern Dance 135 Master of Industrial Design 82 School of Theater Arts 112 Multimedia 163 Digital Technology at PCAD 52 Studios, Media Arts 53 Museum Education 126, 146, 162 Digital Fine Arts Concentration 56 Studios, PCAD 53 Museum Exhibition Planning and Diploma, Graduation 30, 79 Summer MFA Program 91 Design 146, 162 Diploma in Music curriculum 101, 106 University 35 Music 165 Course descriptions 165 Faculty – See specific College, Department, Musical Theater 181 Disciplinary Proceedings 38 or Program Painting/Drawing 178 Discount, Tuition 14 Index 190 Painting, MFA summer 142, 146, 179 Dismissal Policy 29 FAFSA 17, 24 Philosophy and Science 147 PCAD Graduate 79 Federal Grant Programs 18 - 22 Photography/Film/Animation 172 Double Degree, PCAD Graduate Policy 79 Federal Perkins Loan 19 - 22 Printmaking/Book Arts 175 Drawing – See Painting/Drawing Federal Stafford Student Loan School of Dance 135 Drop/Add 26 (SSL) 20, 21, 22 School of Music 165 Drug and Alcohol Policy 34 Federal Supplemental Educational School of Theater Arts 181 Opportunity Grant (FSEOG) 19 - 22 Science, Philosophy and 147 Federal Work-Study (FWS) 20, 21, 22 Sculpture 180 193 Fees 14, 15, 23 Graduate Seminar course descriptions 146 J PCAD Graduate Thesis 78 Graduation 30 Fibers, Crafts curriculum 60 Graduation Requirements 30 Jazz Studies, Master of Music in Course descriptions 130 Master of Music in Jazz Studies 104 curriculum 101, 110 Figurative Illustration Minor 55 MAT in Music Education 104 Course descriptions 165 Film and Television, Writing for curriculum 123 School of Music 104 Graduation Requirements 104 Course descriptions 186 Graduation with Honors 30 Jazz/Contemporary – See Instrumental or Film/Animation curriculum 73 Grants and Scholarships 17 - 22 Composition under School of Music Course descriptions 172 Graphic Design curriculum 67 Jazz/Theater Dance curriculum 95, 97 Film/Video curriculum 72 Course descriptions 144 See also – School of Dance Course descriptions 172 Grievance Procedure, Academic 29 Jefferson Family Medicine Associates 31 Film/Video Minor 55 Guidelines for Responsible Computing 42 Jewelry, Crafts curriculum 60 Final Probation 29 Course descriptions 130 Financial Aid 17 H Graduate 22 L Financial Holds 16 Hahnemann University, Medical College of Financial Responsibility 14 Pennsylvania 57, 76 Language and Literature Fine Arts curricula 62 Harassment Policy, Sexual 34 Course descriptions 147 Course descriptions 141, 175, 178, 180 Health Services 31 Late Registration 15, 25 MFA Summer Program 91 Hearing Process 38 Lateness of Instructor 30 Painting/Drawing curriculum 63 Hearings, Administrative 39 Learning Specialist 32 Printmaking/Book Arts curriculum 64 History and Social Studies Leave of Absence 28, 78 Sculpture curriculum 66 Course descriptions 147 Lesson Cancellation 30 Fine Arts, Digital Concentration 56 History of The University of the Arts 6 Lessons, Private Music 26, 103, 171 Foreign Study Programs, PCAD 56 Honors, Graduation with 30 Liberal Arts, Division of 45 Foundation curriculum 58 Hope Scholarship Credit 19 Common Core 44 Course descriptions 143 Housing Deposits/Fees 10, 14, 15 Course descriptions 147 Freshman Applicants 8 Humanities – See Liberal Arts Arts History 147 Freshman Transfers 9 History and Social Studies 147 FSEOG 19 - 22 Language and Literature 147 FWS 20, 21, 22 I Philosophy and Science 147 Degree Requirements 44, 45 Illustration curriculum 68 Faculty 49 G Course descriptions 161 Transfer Requirements 45 Illustration Minor, Figurative 55 Writing Standards 44 Glass, Crafts curriculum 60 Incomplete, Grade of 27 Course descriptions 130 Libraries 41 Independent Study 26 Literature, Language and GPA – Grade Point Average 27 Index 192 Grade(s) 27 Course descriptions 147 Faculty 190 Loan Programs 19, 20 Change of 27 Industrial Design curriculum 69 Grading System 27 Course descriptions 158 Graduate Thesis 78 Industrial Design, Master of M Incomplete, Grade of 27 curriculum 82 Pass/Fail Option 26 Course descriptions 146, 160 Major, Change of 29 Graduate Information Architecture Minor 118 Majors – See specific College, Department, Admission Requirements 13 Initial Probation 28 Program, or School Application Requirements 13 Instrumental BM curriculum 101, 104 Map, Campus 197 Course descriptions – See specific Programs Course descriptions 165 MATPREP curriculum 101, 107 Credit, Transfer of 13, 79 Diploma curriculum 101, 106 Course descriptions 165 Curriculum – See specific Programs See also – School of Music Meals 32 Degree 30, 79 International Baccalaureate 11 Media and Communication, Double Degree 79 International Student Services 33 College of 7, 118 Financial Aid 22 International Students, Admission 12 Media Arts curricula 70 Leave of Absence 78 International Students, Financial Aid 23 Animation curriculum 72 PCAD Programs 78 Internships 26, 56 Course descriptions 172 PCPA Programs 101, 104, 108, 110 Interview for Admission 8 Film/Animation curriculum 73 Probation/Dismissal 29, 79 Film/Video curriculum 72 Tuition 14 Photography curriculum 71 Video, Film/ curriculum 72 194 Media Arts Studios 53 Medical College of Pennsylvania, Philosophy and Science School of Music 100 Hahnemann University 57, 76 Course descriptions 147 Attendance 103 Metals, Crafts curriculum 60 Photography curriculum 71 Composition BM curriculum 101, 105 Course descriptions 130 Course descriptions 172 Certificate in Music 101, 107 Minors/Concentrations Photography Minor 55 Course descriptions 165 PCAD 26, 55 Photography Minor, Studio 56 Diploma in Music curriculum 101, 106 CMAC 26, 118 PLUS 20, 21, 22 Facilities 100 Mission Statement 6 Portfolio, Credit by 11 Graduate Programs 101, 104, 108, 110 Mobility Program (AICAD) 57 Portfolio, Graduate 13 Graduation Requirements 104 Modern Dance curriculum 95, 97 Post-Baccalaureate Programs Instrumental BM curriculum 101, 104 See also – School of Dance Admission Requirements 13 Lessons, Private 22, 103, 171 Multimedia curriculum 121, 122 Application Requirements 13 Master of Music in Jazz Studies Course descriptions 163 Crafts Studio Certificate 13, 62 curriculum 101, 110 Multimedia Minor 118 Teacher Certification 13, 74, 90 MAT in Music Education Museum Education, MA curriculum 87 Pre-Certification in Art Education 56, 74 curriculum 101, 108 Course descriptions 126, 146, 162 Printmaking/Book Arts curriculum 64 MATPREP curriculum 101, 107 Museum Exhibition Planning and Design, Course descriptions 175 Regulations/Requirements 103 MFA curriculum 84 Printmaking, Book Arts, MFA Vocal BM curriculum 101, 105 Course descriptions 146, 162 curriculum 80 School of Theater Arts 112 Music – See School of Music Course descriptions 146, 177 Acting curriculum 112, 115 Music Education, MAT curriculum 101, 108 Private Lessons, Music 26 Course descriptions 181 Course descriptions 165 Probation 28, 29 Facilities 112 Graduation Requirements 104 PCAD Graduate 79 Musical Theater curriculum 112, 115 Preparatory (MATPREP) 101, 107 Programs of Study – See specific College, Regulations/Requirements 113 Music, Master of in Jazz Studies Department, Program, or School Science, Philosophy and curriculum 101, 110 Course descriptions 147 Course descriptions 165 Sculpture curriculum 66 Graduation Requirements 104 R Course descriptions 180 Musical Theater curriculum 112, 115 Readmission 28 Sculpture, MFA Summer Program 91 Course descriptions 181 Refund Policy, Tuition 15, 16 Course descriptions 142, 146, 181 See also – School of Theater Arts Registrar, Office of the 25 Security, Campus 33 Registration 25 Seminars, Graduate course descriptions 146 Sexual Harassment Policy 34 N Regulations Academic 25 Simulation/Computing Laboratory 53 Name, Change of 29 School of Dance 98 Smoking Policy 34 New Media Center 118 School of Music 103 Social Studies, History and Notice of Deficiency 30 School of Theater Arts 113 Course descriptions 147 Nonaccredited Institutions, Credit from 11 Residence Halls, Student Rights and 36 Special Charges and Fees 15 Residency Requirements 9 Special Events 31 Residential Life 32 Stafford Student Loan (SSL) 20, 21, 22 P Responsible Computing Guidelines 42 Standards Committee, Campus 39 Painting/Drawing curriculum 63 Return Degree Program, PCAD 52 State and Federal Grant Course descriptions 178 Programs 17 - 22 Student Activities 31 Painting, MFA Summer Program 91 S Course descriptions 142, 146, 179 Student Code 35, 42 Parent Plus Loan for Undergraduate Students Schedule Revision 26 Student Conduct 34, 35, 42 (PLUS) 20, 21, 22 Scholarships 18, 19 Student Employment 20 Pass/Fail Option 26 School Closings 33 Student Exchange, PCAD 57 Payment Plans 14 School of Dance 95 Student Loans 19, 21 Pell Grant 18 - 22 Certificate in Dance curriculum 95, 98 Student Organizations 35 Pennsylvania Academy of the Fine Arts Course descriptions 135 Student Records, Access to 36 Coordinate Degree Program 57 Dance curriculum 95, 96 Student Responsibilities 25, 35 Pennsylvania Higher Education Assistance Dance Education curriculum 95, 98 Student Rights 35, 36 Agency (PHEAA) 17 - 22 Dance Extension 99, 139 Student Services 31 Perkins Loan 19 - 22 Facilities 95 International 33 PHEAA 17 - 22 Regulations/Requirements 98 Studio Photography Minor 56 Philadelphia College of Textiles and Sciences, Cooperative Program 57 195 Studios, PCAD 53 U Studios, Media Arts 53 Summer Program, MFA in Ceramics, UArts Course 185 Painting, or Sculpture curriculum 91 Undergraduate Curriculum – See specific Course descriptions 134, 142, 146, Department or School 179, 181 Undergraduate Degree Requirements 30, 44 Summer Study Programs, PCAD 56 University Facilities 35 Supplemental Educational Opportunity University Libraries 41 Grant, Federal (FSEOG) 19 - 22 University Standards, Violation of 37 Support Services, Academic 32 Suspension, Administrative 40 V Vermont Studio Center 91 T Veterans 33 Teacher Certification Program 13, 56, 74, 90 Video – See Film/Video Teaching Violation of University Standards 37 Certification Program 13, 56, 74, 90 Visual Arts, MAT curriculum 89 Dance Education 95, 98 Course descriptions 126, 146 Extended Degree Option 90 Extended Degree Option 90 MA in Art Education 86, 90 Vocal BM curriculum 101, 105 MA in Museum Education 87 Course descriptions 165 MAT in Music Education 101, 104, 108 Diploma curriculum 101, 106 MAT in Visual Arts 89, 90 See also – School of Music MATPREP 101, 107 See also – Education W Technology, Digital at PCAD 52 Theater – See School of Theater Arts Withdrawal from Course 27 Thesis, PCAD Graduate 78 Withdrawal from the University 27 Three-Year Transfer 9 Wood, Crafts curriculum 60 Title IV Code 18 Course descriptions 130 Transcript Fee 15 Work-Study 20, 21, 22 Transfer 9 Writing for Film and Television Advanced Standing 9 curriculum 123 Applicants 9 Course descriptions 186 Application Requirements 9 Writing Standards 44 College of Art and Design 9 College of Media and Communication 10 College of Performing Arts 9 Credit 9, 13, 79 Financial Aid 23 Freshman Transfer 9 Liberal Arts Requirements 45 Residency Requirements 9 Three Year Transfer 9 Trustees, Board of 189 Tuition 10, 14, 23 Refund Policy 15, 16 Typography Minor 56

196 The University of the Arts Campus Map 16th Street 15th Street Broad Street

Walnut Street

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13

Locust Street

5

Spruce Street 6 10 7 11 3 4 1 Pine Street

12 8

Lombard Street 1 Anderson Hall 2 ArtsBank 3 Furness Dorm 4 Hamilton Hall 5 Merriam Theater South Street 6 UArts DanceTheater 7 Wagman Hall 8 YM & YWHA 2 9 211 South Broad 10 309 South Broad 11 313 South Broad 12 1500 Pine Dorm 13 16th Street Residence

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