College of Art and Design College of Performing Arts College of Media and Communication

Undergraduate and Graduate Course Catalog 2003 • 2004

320 South Broad Street Philadelphia, PA 19102 1•800•616•ARTS www.uarts.edu The arts have the power to transform society. They play an essen- Nondiscrimination Policy tial role in ensuring and enhancing the quality of life. The University The University of the Arts is committed to maintaining an envi- of the Arts is committed to inspiring, educating and preparing inno- ronment in which students, faculty, and staff may pursue academic, vative artists and creative leaders for the visual, performing, and artistic, and professional excellence. This environment can be media arts of the 21st century. secured only through mutual respect and unconstrained academic The University of the Arts is the nation’s only university devoted and professional interchange among faculty, staff and students. exclusively to education and professional training in design, visual, Under the Civil Rights Act of 1964, Title IX of the Educational media, and performing arts. Located in the heart of Philadelphia, Amendments of 1972, other state and federal laws, and The The University of the Arts was founded in 1987 through the consoli- University of the Arts policy, the faculty, staff, and students of the dation of two century-old institutions: the Philadelphia College of University are entitled to participate in and obtain the benefits of Art and the Philadelphia College of Performing Arts. A third aca- University programs, activities, and employment without being dis- demic unit, the College of Media and Communication, was criminated against on the basis of their race, creed, color, ethnic established in 1996. Offering undergraduate and graduate degrees in background, national origin, sex, gender, age, religion, disability, or communication, crafts, dance, graphic design, industrial and sexual orientation. museum exhibition design, fine arts, illustration, media arts, multi- The University also strictly prohibits any form of retaliation or media, museum communication,, music, theater, writing, and reprisal against anyone reporting allegations of harassment or dis- museum and arts education, the University prepares its students to crimination, or cooperating in an investigation of such a report. assume over 150 careers in traditional and emerging arts and related Such retaliation shall be considered a serious violation of the fields. University’s nondiscrimination policy and shall be punishable by discipline up to and including termination, regardless of whether the The University of the Arts charge of discrimination is substantiated. However, if an employee, 320 South Broad Street student, or faculty member is found to have intentionally lied about Philadelphia, PA 19102 a claim of discrimination, or brought a claim in bad faith, knowing that the allegation of discrimination is false, then that employee, stu- 215-717-6000 dent, or faculty member may be subject to discipline or expulsion. Examples of prohibited retaliation include: threatening reprisals 1-800-616-ARTS against the person who complained or cooperated in an investiga- tion; unfairly changing a person’s evaluations, assignments, grades, http://www.uarts.edu or working conditions; or otherwise continuing any harassment or discrimination against such person. CEEB code 2664 The University of the Arts gives equal consideration to all appli- cants for admission and financial aid, and conducts all educational Title IV code 003350 programs, activities, and employment practices without regard to race, color, sex, religion, national origin, ethnic background, or dis- ability. Direct inquiries to the Office of the Dean of Students/ADA Coordinator, The University of the Arts, 320 S. Broad Street, Philadelphia, PA 19102; 215-717-6618. This catalog was updated as of July 2003. The University of the Arts reserves the right to revise any information herein at its discre- tion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trade- mark 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.

The University of the Arts¨ is registered with the US Patent and Trademark Office, Reg. No. 2,341,258. UArts¨ is also registered with the US Patent and Trademark Office, Reg. No. 2,677,865.

2 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 The University of the Arts Contents

4 Academic Calendar 2003-2004 College of Performing Arts Course Descriptions

The University of the Arts 84 College of Performing Arts 132 Art Education 85 Minors 134 Art Therapy 6 Mission Statement 90 The School of Dance 134 Communication 6 History of The University of the Arts 90 Ballet 137 Crafts 6 Accreditation 90 Jazz 142 Dance 7 College of Art and Design 90 Modern 146 Electronic Media 7 College of Performing Arts 90 Dance Education 147 Fine Arts 7 College of Media and Communication 96 The School of Music 149 Foundation 7Degree Programs 97 Instrumental Performance 151 Graphic Design 8 University Libraries 97 Voice 153 Graduate Seminars 9 Academic Policies and Procedures 97 Composition 153 Liberal Arts 15 Grading Policies 97 The School of Music 166 Industrial Design Graduate Programs 169 Illustration Undergraduate Degree 97 Master of Arts in Teaching Music 171 Internships Requirements 97 Master of Music in Jazz Studies 172 Master of Fine Arts in 111 The School of Theater Arts Ceramics, Painting, or Sculpture 20 Undergraduate Degree Requirements 111 Acting 173 Multimedia 21 Division of Liberal Arts 111 Musical Theater 176 Museum Studies 111 Applied Theater Arts 179 Music 186 Media Arts College of Art and Design 186 Photography/Film/Video/Animation 28 College of Art and Design College of Media and 190 Printmaking/Book Arts 31 Undergraduate Programs Communication 193 Painting/Drawing 32 Minors 195 Sculpture 35 Foundation Program 120 College of Media and Communication 196 Theater Arts 37 Crafts 121 Minors 201 Writing for Film and Television 40 Fine Arts 126 Communication 46 Graphic Design 128 Multimedia General Information 48 Illustration 130 Writing for Film and Television 50 Industrial Design 204 Admission 52 Media Arts 210 Tuition and Expenses 58 Art Education 213 Financial Aid 60 Art Therapy 224 Student Services 62 College of Art and Design 226 General Information Graduate Programs 227 Code of Conduct 64 Post-Baccalaureate Options 229 Student Code 66 Art Education 235 University Guidelines for 69 Visual Arts Responsible Computing 71 Book Arts/Printmaking 237 Academic Computing 73 Ceramics, Painting, or Sculpture 237 Continuing Education Programs 75 Industrial Design 238 Administration 77 Museum Studies 239 Board of Trustees 78 Museum Communication 240 Faculty Index 79 Museum Education 243 Index 80 Museum Exhibition Planning 250 Campus Map and Design

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 3 Academic Calendar 2003-2004

Summer 2003 Monday, July 7 October May Summer World of Dance begins Saturday, October 4 Monday, May 5 and Tuesday, May 6 Summer Pre-College begins Saturday School begins Summer Session I & II Registration Tuesday, July 8 Friday, October 17 Monday, May 5 Summer — New Student Placement Test Last day for removal of Spring 2003 Incomplete Spring 2003 semester ends "I" grades Friday, July 11 Tuesday, May 6 thru Friday, May 9 Summer I grades due to the Registrar Ð 12:00 p.m. Monday, October 20 Examinations Automatic conversion from "I" to "F" grade Friday, July 18 Monday, May 12 thru Friday, May 16 2-wk Summer World of Dance program ends Friday, October 24 Studio Critiques and Juries Last day to withdraw with a "W" grade August Friday, May 16 Friday, August 1 Saturday, October 25 Grades due to Registrar Ð 12:00 noon 4-wk Summer World of Dance ends Admission Open House Pre-College ends Saturday, May 17 Monday, October 27 thru Friday, November 7 Student Residences close Ð 12:00 noon Saturday, August 2 Advising for Spring 2004 registration Residence Halls close at 5:00 p.m. Monday, May 19 November SUMMER SESSION I BEGINS Friday, August 8 Advising for Spring 2004 registration Continuing Education Summer Session I begins SUMMER SESSION II ENDS Continues thru Friday, November 7

Wednesday, May 21 Monday, August 11 Monday, November 3 Awards Ceremony Continuing Education Summer Session II ends Deadline for Readmission Application for Spring 2004 semester Thursday, May 22 Friday, August 15 Commencement CAD Summer MFA program ends Thursday, November 6 Summer Session II grades due to Registrar Joint University Advising Session Monday, May 26 Memorial Day Holiday Tuesday, August 19 Monday, November 17 Summer MFA grades due to Registrar Graduation Petitions for Dec. 2003 due to Thursday, May 29 Registrar CPA/CMAC Academic Review Saturday, August 30 Fall Ð New Student English Placement Test Monday, November 17 thru Friday, November Friday, May 30 Student Residences open/move-in 21 CAD Academic Review Registration for Spring 2004 Deadline — Fall 2003 Application for Readmission Saturday, August 30 thru Tuesday, September 2 New Student Orientation Thursday, November 27 June Thanksgiving Day Holiday Thursday, June 12 and Friday, June 13 September Fall 2003 Registration for Summer Foundation Monday, September 1 Thursday, November 27 thru Sunday, November 30 Summer II Registration Labor Day Holiday Thanksgiving Vacation — Residence Halls remain open Friday, June 20 Tuesday, September 2 Summer MFA Orientation Advising/Registration for all new transfers, grad- December uate, and readmitted students 9 a.m. Ð 2 p.m. Friday, December 12 Monday, June 23 Fall 2003 classes end Summer MFA Classes Begin Wednesday, September 3 Registration Continued 9 a.m Ð 5 p.m. Saturday, December 13 Friday, June 27 Saturday School ends SUMMER SESSION I ENDS Thursday, September 4 Fall 2003 semester classes begin Sunday, December 14 Monday, June 30 Continuing Education Fall session ends SUMMER SESSION II BEGINS Thursday, September 4 thru Wednesday, Continuing Education Summer Session I ends September 17 Monday, December 15 thru Friday, December 19 Drop/Add period/Late registration Examinations, critiques, and juries July Tuesday, July 1 Monday, September 15 Friday, December 19 Continuing Education Summer Session II Begins Continuing Education Fall Session begins Fall 2003 semester ends Residence Halls close at 5:00 p.m. Friday, July 4 Friday, September 19 Grades due to Registrar Ð 12 p.m. Independence Day Holiday Deans and Directors submit additional Spring Documents for students graduating Dec. 2003 University Closed 2004 course changes to Registrar due to Registrar

4 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Monday, March 15 thru Friday, March 19 Thursday, June 10 and Friday, June 11 Spring 2004 CAD Freshmen Major Orientation Week Fall 2004 Registration for Summer Foundation January students Thursday, January 1 Friday, March 19 Summer II Registration New Year’s Day Holiday CAD Freshman Major Selections due to Registrar Monday, June 21 Thursday, January 8 Monday, March 22 thru Friday April 2 CAD Summer MFA program begins CPA/CMAC Academic Review Advising for Fall 2004 Registration Friday, June 25 Friday, January 9 April SUMMER SESSION I ENDS CAD Academic Review Advising for Fall 2004 continued thru Friday, Foundation Summer semester ends April 2 Thursday, January 15 Monday, June 28 New Student Registration Saturday, April 3 SUMMER SESSION II BEGINS Residence Halls open, 9 a.m. Admission Open House Continuing Education Summer Session I ends

Thursday, January 15 and Friday, January 16 Monday, April 12 thru Friday, April 16 Tuesday, June 29 New Student Orientation Registration for Fall 2004 Continuing Education Summer Session II begins

Monday, January 19 Saturday, April 24 July Martin Luther King Holiday Saturday School ends Sunday, July 4 Independence Day Holiday Tuesday, January 20 Sunday, April 25 Spring 2004 semester classes begin Continuing Education Spring Session ends Monday, July 5 University closed for observance of Independence Tuesday, January 20 thru Monday, February 2 May Day Drop/Add period/Late Registration Monday, May 3 Spring 2004 classes end Wednesday, July 7 Friday, January 23 Summer New Student English Placement test Continuing Education Spring session begins Monday, May 3 and Tuesday, May 4 Registration for Summer Sessions I & II Friday, July 9 February Summer I grades due to Registrar Monday, February 2 Tuesday, May 4 thru Friday, May 7 Last day of Drop/Add Liberal Arts Examinations Monday, July 12 Summer World of Dance begins Wednesday, February 4 Monday, May 10 thru Friday, May 14 Summer Pre-College begins Deans/Dir. submit Fall 2004 courses to Registrar Studio critiques and juries Foundation Summer semester begins Wednesday, July 15 Saturday, February 14 Graduation Petitions for August 2004 due to Saturday School begins Friday, May 14 Registrar Final grades due to Registrar by 12 p.m. Monday, February 16 Documents for students graduating May 2004 due Friday, July 23 Graduation Petitions for May 2004 due to to Registrar 2-wk Summer World of Dance ends Registrar Saturday, May 15 August Friday, February 20 Student residences close at 12 p.m. Friday, August 6 Deans/Dir. submit Spring 2005 courses to SUMMER SESSION II ENDS Registrar Monday, May 17 4-wk Summer World of Dance ends Continuing Education Summer Session I begins Pre-College ends Friday, February 27 SUMMER SESSION I BEGINS Last day for removal of Fall 2003 Incomplete "I" Wednesday, August 11 grades Wednesday, May 19 Continuing Education Summer Session II ends Awards Ceremony March Friday August 13 Monday, March 1 Thursday, May 20 CAD Summer MFA program ends Automatic conversion from "I" to "F" Commencement ceremony Summer Session II grades due to Registrar

Friday, March 5 Thursday, May 27 Tuesday, August 17 Last day to withdraw with a "W" grade CPA/CMAC Academic Review CAD Summer MFA grades due to Registrar

Monday, March 8 thru Friday, March 12 Friday, May 28 Saturday, August 28 Spring Break/Residence Halls remain open CAD Academic Review Fall New Student Placement Test Student Residences open/move-in Monday, March 15 Monday, May 31 Spring 2004 classes resume Memorial Day Holiday Saturday, August 28 thru Tuesday, August 31 New Student Orientation Monday, March 15 June 2004/2005 Financial Aid Applications Due Tuesday, June 1 Tuesday, August 31 and Wednesday, September 1 Fall 2004 Application for readmission due New Student Registration

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 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 creative capabili- The University of the Arts is the largest comprehensive educa- ties. Our institution was among the first to contribute to the formation tional institution of its kind in the nation, preparing students for of an American tradition in arts education. We continue to develop professional careers in design, visual, media, and performing arts, interpreters and innovators who influence our dynamic culture. and emerging creative fields. The University of the Arts has evolved from two century-old insti- The University’s Mission: tutions: the Philadelphia College of Art and the Philadelphia College of Performing Arts. To educate and professionally train artists in the visual The Philadelphia College of Art was formed in 1876 along with and performing arts, in design, in media, and in writing; the Philadelphia Museum of Art. Initially known as the Pennsylvania Museum and School of Industrial Art, the institution To grant graduate and undergraduate degrees, diplomas, was established in response to the interest in art and the Centennial and certificates in the arts; Art Exposition. In 1949, the school became known as the Philadelphia Museum School of Art, reflecting the expanded pro- To provide educational programs centered in the arts to grams that trained artists in many other areas, including the fine arts. multiple populations; The school received accreditation in 1959, and in 1964 separated from the Museum to become the Philadelphia College of Art. Today, To encourage relationships among the arts; the College of Art and Design of The University of the Arts offers curricula in crafts, design, fine arts, media arts, museum communi- To promote high standards in creativity and scholarship; cation, museum education, and art education. The performing arts programs of The University of the Arts date To prepare artists who will contribute responsibly from 1870, when three graduates of the Conservatory of Leipzig to our culture; opened one of the first European-style conservatories of music in America: the Philadelphia Musical Academy. The Philadelphia To challenge students to think critically, joining knowledge Musical Academy became an independent college of music in 1950, and skill to their individual creative vision; granting a Bachelor of Music degree after a four-year course of study, one of only eight such music colleges in the nation at the To anticipate and to cultivate new art forms as they emerge. time. While still offering only a music program, the school changed its name to the Philadelphia College of Performing Arts in 1976, the The University of the Arts offers instruction across a broad spec- first such college in Pennsylvania. One year later the former trum of artistic disciplines. We serve the community in which we Philadelphia Dance Academy became part of the Philadelphia reside, the professions for which we prepare new members and, ulti- College of Performing Arts, and in 1983 the School of Theater Arts mately, the society whose culture we both sustain and advance. was created, thus achieving the college’s ideal program of studies: The University’s goal is to direct each student’s quest for creative dance, music and theater arts. self-expression toward a productive role in society. Our programs In 1983, the Philadelphia College of Art and the Philadelphia develop the student’s talent, aesthetic sensibility, conceptual and College of Performing Arts joined to become the Philadelphia perceptual acumen, cultural awareness, and professional expertise. Colleges of the Arts, and in 1987, The University of the Arts was The curricula integrate specific knowledge and skills needed for inaugurated. In the fall of 1996, the University created a new aca- technical mastery of the various arts disciplines with a significant demic unit, the College of Media and Communication, which examination of conceptual and humanistic studies. emphasizes the integration of art, technology, and communication. To this end, the University must gather and retain a distinguished The first two BFA degree programs offered by this new college were teaching faculty offering a breadth of professional expertise. Their Writing for Film and Television, and Multimedia; the third, a BS scholarly work and artistic exploration have national and interna- degree program in Communication, began in September 1999. tional consequences for the institution. Our educational programs seek to stimulate and influence not only our students but the very Accreditation disciplines that we teach. The University of the Arts is authorized by the Commonwealth 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 College of Art and Design is also an accredited institutional member of 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 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 College of Art and Design Degree Programs

The College of Art and Design offers the Bachelor of Fine Arts degree in Animation, Crafts, Film/Animation, Film/Digital Video, Bachelor of Fine Arts Master of Arts in Graphic Design, Illustration, Painting and Drawing, Photography, (BFA) Teaching (MAT) Printmaking/Book Arts, and Sculpture. A major in Industrial Design Acting Music Education leads to the Bachelor of Science degree. Crafts offers a post-bac- Animation Visual Arts calaureate certificate program. Art Education offers a Applied Theater Arts post-baccalaureate pre-certification program. Ballet Master of Industrial At the graduate level are programs leading to the degrees of Master Crafts Design (MID) of Arts in Art Education, Master of Arts in Museum Communication, Dance Education Film/Digital Video Master of Arts in Museum Education, Master of Industrial Design, Master of Music (MM) Film/Animation Jazz Studies Master of Arts in Teaching in Visual Arts, Master of Fine Arts in Graphic Design Book Arts/Printmaking, Master of Fine Arts in Museum Exhibition Illustration Planning and Design, and a low-residency summer Master of Fine Jazz/Theater Dance Undergraduate Arts in Ceramics, Sculpture, or Painting. Teaching certification is Modern Dance Certificate offered on a non-degree basis, either independently or in conjunction Multimedia Dance with an undergraduate degree in the College of Art and Design. Musical Theater Music Concentrations in Art Therapy and Digital Fine Arts are offered, as Painting and Drawing well as seven minors. Photography Undergraduate Printmaking/Book Arts Diploma Sculpture Music College of Performing Arts Writing for Film and Television Minors The School of Dance offers Bachelor of Fine Arts degrees in Bachelor of Music Animation Ballet, Modern, Jazz/Theater Dance, and Dance Education, as well as (BM) Book Arts a two-year Certificate in Dance. Composition Digital Film/Video The School of Music offers the Bachelor of Music degree in Jazz Instrumental Performance Documentary Video Vocal Performance, Instrumental Performance with a jazz/contempo- Vocal Performance E-Music rary focus, and Composition. In addition, a four-year Undergraduate E-Publishing Diploma and two-year Certificate in Dance or Music are offered. Bachelor of Science Figurative Illustration At the graduate level, the School of Music offers the Master of (BS) Film/Digital Video Arts in Teaching in Music Education and the Master of Music in Jazz Communication Game Design Studies. Industrial Design Information Architecture Multimedia The School of Theater Arts offers the Bachelor of Fine Arts in Post-Baccalaureate Narrative Video Theater Arts, with majors in Applied Theater Arts, Acting and Photography Musical Theater. Certificate Screenwriting in Crafts Strategic Advertising College of Media Studio Photography Post-Baccalaureate Typography and Communication Teacher Program Web Design (non-degree) Web Drama The College of Media and Communication offers three degree pro- Concentrations grams. The department of Communication offers a Bachelor of Master of Fine Arts (MFA) Art Therapy Science in Communication with concentrations in Advertising, Digital Fine Arts Digital Journalism, and Documentary Production. The department of Book Arts/Printmaking Ceramics Pre-Certification in Multimedia offers a Bachelor of Fine Arts in Multimedia and a minor Art Education in Information Architecture. The department of Writing for Film and Museum Exhibition Planning and Design Television offers a Bachelor of Fine Arts in Writing for Film and Painting Television. Sculpture Master of Arts (MA) Art Education Museum Communication Museum Education

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 7 Reference assistance and course reserves are available at each University Libraries University library location. The libraries provide other information services such as interlibrary loan, class instruction in research tech- Carol Graney niques and library use, and advanced electronic research capabilities [email protected] including discounted online database searching for students. The Director of University Libraries library maintains reciprocal use arrangements with other nearby aca- Greenfield Library, 1st floor Anderson Hall demic libraries. 215-717-6281 Albert M. Greenfield Library The University libraries are central to the educational mission of 215-717-6280 the University, enabling and enriching every student’s professional preparation and general education. Through the services the library Music Library staff provides, and through the materials it collects or to which it 215-717-6292 provides access, the University libraries seek to enhance teaching and improve learning, and to educate students in the arts to be suc- Visual Resources/Slide Collection cessful and productive users of information. 215-717-6290 The libraries of the University of the Arts include the following three campus locations: University Libraries’ Web site The Albert M. Greenfield Library, on the first floor and lower http://library.uarts.edu level of Anderson Hall (333 South Broad Street), serves as the main library for the campus, containing materials in many formats on art and design, communication, dance, theater, film and television, mul- timedia, liberal arts, and other general subjects. The Greenfield Library also houses the libraries’ administrative offices and technical services operation, as well as the library’s Picture File, University Archives, and the library’s Special Collections, with particular strengths in book arts 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, 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 101,000 books and bound periodicals, 14,600 music scores, 115,000 mounted and encapsulated pictures, 166,000 slides, and 12,000 items of recorded music in LP and CD formats. The library also has a growing collec- tion of audiovisual materials in videocassette, videodisc, DVD, and multimedia formats. Listening and viewing facilities, Internet/World Wide Web access, and photocopiers are available in addition to gen- eral reading facilities. Information about the libraries’ collections is available through an online catalog that is accessible from computers in the Greenfield and Music Libraries or via the World Wide Web. Records for library materials can be searched by author, title, keyword, subject, and call number. Once a record is found, information including its shelf loca- tion and whether or not it is available for circulation is displayed. Traditional card catalogs are also maintained for some specialized collections, which have not yet been added to the automated system. Other electronic reference tools are also available, including online and CD-ROM periodical indexes, databases, and encyclopedias.

8 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 able for a $30 fee. The transcript request will be processed within Academic Policies one day and sent via FedEx overnight service. and Procedures ¥ International service (not available for The Continuing Education program or Professional Institute for Educators)Ðavail- able for a $40 fee. The transcript request will be processed within Lynn Powell Dougherty one day and sent via DHL. [email protected] ¥ Transcripts will not be processed if there is a financial hold on Registrar the account of the student. Please allow three to five working days to Office of the Registrar complete requests. Second Floor, Dorrance Hamilton Hall Mail requests to: 215-717-6420 Office of the Registrar 215-717-6417 (Fax) The University of the Arts Office of Registrar email: [email protected] 320 S. Broad Street Philadelphia, PA 19102 The Office of the Registrar develops and maintains all records and Attention: Transcript Requests files relating to the students’ academic life at the University. Course or and program transactions and changes become official only when Fax requests to: properly processed through the Office of the Registrar. Students who Office of the Registrar are formally admitted to the University and have paid all applicable The University of the Arts tuition and fees will be allowed to register. Attention: Transcript Requests Students must have a program of courses documented and 215-717-6417 approved by the required advisor(s). All students are advised to obtain a copy of their curriculum requirements as soon as possible Family Educational Rights and Privacy Act after admission to the University and to check them against their (FERPA) transcripts after each term. Student copies of the transcript are avail- (Please also see “access to Student Records” in the Student Code able upon request. The Office of the Registrar maintains the official located in the rear of this catalog.) The Family Educational Rights academic record for each student and is responsible for certification and Privacy Act (FERPA) of 1974 affords students certain rights of completion of requirements for graduation. with respect to their educational records. They are: ¥ The right to inspect and review the student’s education records Transcript Request Procedures within 45 days of the day the University of the Arts receives a You may request a transcript by completing a transcript request request for access. form (available in the Office of the Registrar) or providing the fol- ¥ Students should submit to the registrar, dean, head of the aca- lowing information: demic department, or other appropriate officials, written requests ¥ Name under which you attended the University or any prede- that identify the record(s) they wish to inspect. The University offi- cessor institutions cial will make arrangements for access and notify the student of the ¥ Current address and telephone number time and place where the records may be inspected. If the records ¥ Social security number are not maintained by the University official to whom the request ¥ Date of birth was submitted, that official shall advise the student of the correct ¥ Last date of attendance official to whom the request should be addressed. ¥ Major/Degree program ¥ The right to request the amendment of the student’s education ¥ Address where transcript is to be sent records that the student believes is inaccurate or misleading. ¥ Signature; transcripts will not be released without the original Students may ask the University to amend a record that they believe signature of the requesting student is inaccurate and misleading. They should write to the University offi- Fees: cial responsible for the record, clearly identify the part of the record ¥ Currently enrolled students can obtain an unofficial “student” they want changed, and specify why it is inaccurate or misleading. copy of their transcript from the Office of the Registrar at no charge. If the University decides not to amend the record as requested by Official transcripts are subject to the following fees: the student, the University will notify the student of the decision and ¥ $5.00 fee for each transcript that you request (checks should be advise the student of his or her right to a hearing regarding the made payable to THE UNIVERSITY OF THE ARTS). Mailed via request for amendment. Additional information regarding the U.S. Mail, normally within three to five business days. hearing procedures will be provided to the student when notified of ¥ FAX Service: Transcript requests received by fax will be subject the right to a hearing. to a $10 fee, processed within three to five business days and sent ¥ The right to consent to disclosures of personally identifiable via U.S. Mail. Faxed requests must include a credit card number, information contained in the student’s education records, except to expiration date, and an authorizing signature. The University accepts the extent that FERPA authorizes disclosure without consent. Visa or Mastercard payments. One exception, which permits disclosure without consent, is dis- ¥ Emergency service (not available for requests to the Continuing closure to school officials with legitimate educational interests. A Education Program or Professional Institute for Educators) is avail- school official is a person employed by the University in an adminis- able for a $12 fee. Transcripts will be processed within one day of trative, supervisory, academic or research or support staff position receipt of request and sent out via U.S. Mail. (including law enforcement unit personnel and health staff); or a ¥ FedEx service - U.S. only (not available for The Continuing person or company with whom the University has contracted (such Education program or Professional Institute for Educators)—avail- as an attorney, auditor, or collection agent).

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 9 A school official has a legitimate educational interest if the offi- Academic Advising and Student cial needs to review an educational record in order to fulfill his or her professional responsibility. Responsibility ¥ The right to file a complaint with the U.S. Department of Each student is personally responsible for observing all regula- Education concerning alleged failures by State University to comply tions in the catalog that may affect academic progress, financial with the requirements of FERPA. The name and address of the obligations, relationships with University authorities, transferability Office that administers FERPA is: of credits, acceptance of credits for graduation, and eligibility to graduate. Family Policy Compliance Office Academic advising at the University is designed to assist students U.S. Department of Education in directing and completing their degree programs by providing 400 Maryland Avenue, S.W. guidance through contact with informed advisors and by providing Washington, D.C. information in various publications. Students are expected to refer to this catalog and course bulletins for information on policies, proce- ¥ Directory Information Ð The University of the Arts has estab- dures, and deadlines. Students in doubt about any College or lished that the following information will be considered as University regulation should seek advice from their academic “directory information” and the University may release it without advisor or the Office of the Registrar. prior consent from the student: In preparing for registration, students consult with their faculty advisors, who help them assemble schedules for the semester and Name who give final approval to all course selections. Students entering the Address final year of their degree program are urged to consult with the Telephone listing Registrar to ensure that all major requirements will be completed on E-mail address schedule for graduation. Students are responsible for knowing the Date and place of birth specific requirements of their particular degree program and for Major field of study tracking their academic progress toward the degree. Meeting require- Participation in officially recognized activities ments for graduation is ultimately the student’s responsibility. Dates of attendance Enrollment status Change of Address Degrees and awards received It is essential that students keep the Office of the Registrar Last institution attended informed of all current addresses: permanent and billing. Change of Address forms are available in that office. Grades, schedules, and In accordance with the Family Educational Rights and Privacy other important information are mailed to the addresses provided by Act of 1974, students may request to have this information withheld the student. from public information. Students must file this request within the first three weeks of the term. Change of Name Students must notify the Office of the Registrar of any change of Verification of Enrollment name (through marriage, divorce, etc.) by bringing to the office an Students often need to send additional information concerning original legal document showing the change, which may be photo- their enrollment to insurance companies, loan services, scholarship copied and kept on file. This is important in order to maintain all of programs, and other outside parties. Any request for verification of the student’s records in one place and prevent future confusion with enrollment beyond the directory information listed below must be transcript requests, etc. made in writing and signed by the student wishing to release the information. The request for verification must state exactly which Registration information the student wants released and who is authorized to Official registration forms must be filed in order for the student to receive it. There is no fee for this service. The Office of the Registrar attend class. Students are responsible for knowing regulations will verify enrollment for future terms only after the student has reg- regarding withdrawals, refund deadlines, program changes, and aca- istered in classes and has been cleared by the Student Billing Office. demic policy. Normal service for other verifications of enrollment is three to five Matriculating students must register for subsequent semesters in working days from the time the request is received. accord with the posted schedule (see Academic Calendar). Failure to register will result in a late registration fee (see below). A student is not officially registered until Finance Office clearance has been obtained. In order to register for classes, it is necessary to meet any finan- cial or academic criteria that have caused a hold to be placed on a student’s record. All students are responsible for completing any prerequisites required for enrollment in a course. Failure to complete prerequisites may result in cancellation of registration in the course requiring the prerequisite.

10 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Place Holders dean of their college. Factors such as grade-point average and During registration some students have trouble finding courses progress in meeting degree requirements will be considered in that fit in their schedules. As a result, they may not be able to reg- giving permission for an overload. Excess credits are subject to ister for the 12-credit minimum necessary to maintain full-time additional charges at the standard credit rate. Registration as Audit status. In order to allow such students to pick up a course(s) during or Pass/Fail is counted the same as all other academic credit for the the Drop/Add period and thereby maintain their full time status for purpose of determining tuition. Financial Aid purposes, a “place holder” is added to the student’s Graduate students are considered full-time if enrolled in at least registration. It is presumed that the student will find an additional nine credits per term. course during Drop/Add. Prior to the beginning of the Drop/Add International students cannot drop below full time status. period, each student who has a place holder will be reminded, via mail, to register for the additional course(s). If the student does not Student Classification register for additional coursework by the end of Drop/Add, the place A student’s class is determined by the number of credits earned, holder will be deleted. At that time, a list of these students in this regardless of the number of semesters of enrollment or the student’s status will be generated for the Finance and Financial Aid Offices. standing in his or her major program. Class status is a factor in Under no circumstances will a place holder remain on their registra- determining financial aid eligibility and is one indicator of academic tion after the Drop/Add period ends. progress. Class standing is also used to prioritize scheduling during registration. Late Registration Undergraduate class status is determined as follows: A late-registration fee of $35 will be charged to any student who U1 up to 29.5 credits has not completed registration by the first day of term. Late registra- U2 30 - 59.5 credits tion may jeopardize a student’s chance of obtaining his/her desired U3 60 - 89.5 credits course schedule. U4 90 - 123 credits U5 more than 123 credits Matriculated Students Graduate status is determined as follows: Matriculated students are those who have applied, been accepted, G1 up to 17.5 credits and enrolled in a degree program at The University of the Arts G2 18 or more credits during the semester for which they were admitted. Course credits completed prior to matriculation at the University will not neces- Transfer of Credit sarily be accepted into the degree programs. In no case will more Students may receive credit for courses taken at other regionally than six credits taken as a non-matriculated student at The accredited institutions that are similar in content, purpose, and stan- University of the Arts be accepted into the degree program. Students dards to those offered at The University of the Arts. A minimum seeking degrees may enroll for part-time or full-time study. grade of “C” is required in order to present a course for transfer credit. Only credits are transferable, not grades. Non-Matriculated Students Candidates are given a preliminary transfer credit evaluation at A student who takes classes in a major department but is not the time of admission; final award of transfer credit and placement enrolled in a degree program at The University of the Arts and has not level is subject to receipt of final official transcripts and verification submitted an application to the Office of Admission qualifies as a by the registrar at the time of enrollment. non-matriculated student. Non-matriculated status provides opportunity for students to Graduate Double Degree Policies study with a specific professor, or pursue additional college-level Graduate students already enrolled in a master’s degree program instruction for those who already hold a bachelor’s degree. at the University of the Arts may apply to simultaneously pursue a Non-matriculated students may enroll for a maximum of 11.5 second master’s degree. A second degree may be added only after credits per semester and may not audit any classes. the successful completion of at least one semester of graduate study, Students who subsequently enroll in a University of the Arts with a grade-point average of at least 3.0. Students who are inter- degree program may apply a maximum of six credits taken as a non- ested in this option must be aware that completion of two degrees matriculated student to their degree at the discretion of the will likely require additional time to complete and requires intensive department director/chair. Non-matriculating students who are advising and coordination of requirements. simultaneously enrolled or have plans to enroll at another institution Students currently enrolled in a master’s degree program who may transfer credits to that institution if they have received prior wish to pursue a second master’s degree must request, in writing, approval in writing from that institution. that the Registrar forward a copy of their transcript and official file To enroll as a non-matriculated student, please contact the Office to the director of the program to which they are seeking admission. of the Registrar. Please be advised that there are no payment plans or The director of the second program may require the student to financial aid opportunities for non-matriculated students. submit materials for portfolio review, and may require additional let- Non-matriculated students are otherwise governed by all the rules ters of reference. The director of each graduate program is and regulations that apply to matriculated students. responsible for coordinating any required portfolio review. Portfolio requirements are listed on the Graduate Application or may be Full-Time Credit Load/Overloads obtained directly from the graduate director or coordinator. Final Full-time undergraduate students are defined as those who are acceptance into a double degree program must be approved by the enrolled in at least 12 credits a semester. Students wishing to take Director of Graduate Programs. more than 18 credits in a semester must obtain permission from the 1. A student may be awarded a particular degree from the

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 11 University only once; i.e., once the student has earned an MA, he or Withdrawal from a Course she may not be awarded another MA. A student may withdraw from a course with a “W” (Withdrawal) 2. A student may not receive two different master’s degrees from from the last day of the Drop/Add period through the last day of the the same program; i.e., he or she cannot pursue both the MA in Art seventh week of the semester. The withdrawal form must be signed Education and MAT in Visual Arts. by the course instructor and the student’s advisor and submitted to 3. A student may earn up to two master’s degrees, either simulta- the Office of the Registrar prior to the deadline. neously or sequentially. After the end of the seventh week, a “W” is possible only under 4. If a student is approved for a double degree, and six credits are unusual circumstances such as an accident or severe illness, which shared between the two programs, the student may transfer a max- must be documented. Permission for an exceptional withdrawal imum of six additional credits from an accredited institution. must be given by the instructor and the Dean/Assistant Dean of the 5. A student who has completed one degree and wishes to matric- college. ulate in another does so by applying to the new program through the A student who wishes to withdraw from all of his or her classes Office of Admission. must initiate an official Withdrawal or Leave of Absence from the 6. Students in the Summer MFA program who wish to pursue a University as outlined in this catalog. If a student withdraws from all second graduate degree will be charged the regular graduate tuition of his/her classes and does not officially withdraw from the rate in the semesters in which they are pursuing two degrees. University or take a leave of absence, he/she may be withdrawn from the University or dismissed in accordance with Academic Change of Major/Degree Program/College Review policies. Students may request a change of major through the Office of the Registrar. Students are advised to initiate the Change of Major Leave of Absence Petition prior to registration for the upcoming semester. The petition A student may request a Leave of Absence by obtaining a Leave requires the approval of the appropriate chairpersons or directors of of Absence Form, available in the Office of the Registrar. Only stu- both the former and the intended new department or school. The stu- dents in good academic standing may request a Leave of Absence. dent will be required either to present a portfolio or to audition as Undergraduate students who maintain a minimum 2.0 cumulative part of the transfer review process. Deadlines are June 1 for the fall and semester grade-point average (GPA) are considered to be in semester and November 1 for the spring semester. good standing. A Leave may be granted for one or two semesters, After completion of a change of major, students are advised to with approval granted by the Dean of the appropriate college, pro- review their degree program requirements with their new academic vided that the student is in good standing. advisor, the department chair or school director, and the dean of the A Leave of Absence will not be granted after the seventh week of appropriate college. the semester in which the student is enrolled. If a student wishes to leave during a semester and the request is approved, he/she may Change in Degree Requirements withdraw from the current semester with the leave taking effect in Students who have not completed their degree requirements at the the current and subsequent semester. In this instance, the student end of seven years from the date of initial matriculation may be sub- will be subject to the grading, withdrawal periods, and withdrawal ject to new degree requirements, which will be determined by the refund policies listed elsewhere in this catalog. department chairperson and the Office of the Registrar on a case-by- A student who is granted a Leave of Absence is unconditionally case basis. eligible to register for classes for the semester immediately after the Leave expires. (A student may return before the expiration of the Course Substitutions Leave by indicating his/her intention to do so in writing to the Office Occasionally a student may not be able to enroll in the exact of the Registrar.) course required for the degree program, or the department may rec- If the student does not register for the term following the Leave’s ommend an alternate course to better suit a specific academic goal. expiration, but wishes to resume his/her studies at a later date, the In this case, the student is to request an approval for a course substi- student must apply for readmission following the guidelines in this tution from the department chairperson or program director. The catalog. director/chair lists the required course and the approved substitution A graduate student may take a Leave of Absence prior to the com- on the form. After completion the department chairperson or pro- pletion of all coursework, subject to approval by his/her program gram director submits the form to the Office of the Registrar for director. Graduate students may take a maximum of two one- processing. semester Leaves of Absence throughout their course of study, whether in sequence or as needed. Once the thesis or Master’s of Schedule Revision – Drop/Add Music graduate project has begun and all coursework has been com- Beginning with the first week of the semester, only students who pleted, graduate students are not eligible for a Leave of Absence. have obtained finance office clearance may revise their schedules Students must register and pay for the thesis continuation fee for without academic penalty until the end of the Drop/Add period. Any successive semester and are not eligible for a Leave of Absence. schedule revision must be approved in writing by the appropriate Leave of Absence is granted only to students who are in good aca- instructor or department chairperson and advisor. This is accom- demic standing. If a student is granted a Leave of Absence for a plished by completing a Drop/Add Form, obtaining the appropriate future semester, but is subsequently placed on probation for the cur- signatures, and submitting the form to the Registrar’s Office for pro- rent semester, the Leave Of Absence will be converted to a cessing. The Drop/Add period takes place during the first 10 days of withdrawal. Notification of a conversion to “withdrawn” status will classes each semester in accordance with the Academic Calendar. be provided in writing by the office of the Registrar. Students who are converted to a “withdrawn” status must apply for readmission

12 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 through the Office of the Registrar in accordance with the policies date of readmission will be re-evaluated in conjunction with degree described in this catalog. programs currently offered. Academic units may choose not to The following procedure must be followed to obtain a Leave of accept courses regardless of when they were completed for credit Absence from the University: toward the degree. Final determination will be made by the dean of 1. The student obtains a Request for Leave of Absence Form from the college. In the event of Dismissal, an application for readmission the Office of the Registrar. will not be entertained until a full academic year has elapsed. 2. The student must get approval from his/her department Readmitted students will carry the cumulative GPA that was in place chair/director. at the completion of the last semester attended at UArts. 3. The Student must submit form to the college dean for approval. Please also note that previous censure from the Academic Review 4. After the Leave of Absence approvals are obtained, the student Committee may apply to any readmitted student. submits the completed form to the Office of the Registrar for pro- cessing and coding. A copy of the form will then be distributed to Registering for Other Categories the student and the college dean. of Study Withdrawal from the University Independent Study A student may withdraw from the University by initiating an offi- Independent Study offers a matriculated student the opportunity cial Withdrawal process with the Office of the Registrar. Students to initiate individual research or advanced projects that are beyond who withdraw from the University prior to the beginning of the fall the limits of the standard curriculum, with limited supervision. or spring semesters or summer sessions, or prior to the end of the Independent Study is available to junior and senior undergraduate Drop/Add period, do so without academic penalty. students who have a minimum 2.5 GPA and to graduate students in Official Withdrawals after the Drop/Add period, but prior to the good standing. To enroll in an Independent Study, the student must end of the seventh week of the respective fall or spring semester or follow these guidelines: second week of the respective summer session, will result in the 1. Obtain an Independent Study Form from the Office of notation of the grade “W” (Withdrawal) for all courses. the Registrar. Students are not permitted to withdraw without academic penalty 2. Prepare a proposal and identify a University of the Arts faculty from the University after the end of the seventh week of a fall or member having expertise in the area of investigation who is willing spring semester or second week of a summer session, except when to serve as the course advisor. With the consultation of the course non-academic extenuating circumstances exist, in which case docu- advisor, complete the Independent Study Form, which must include mentation (by a physician or a counseling professional) must be a semester plan for the course of study, indicating the number of presented and approval of the appropriate Dean must be obtained. credits being taken and the evaluation criteria. The form must be Students who have withdrawn and who wish to resume their signed by the course advisor and the student’s department studies at a later date must submit a Request for Readmission Form chair/school director. to the Office of the Registrar in accordance with application dead- 3. Present the approved Independent Study Form at registration or lines and pay the readmission fee. within the Drop/Add period, along with your registration or The following procedure must be followed to obtain official Drop/Add form. The course number for an independent study is the Withdrawal from the University: department code (the course advisor’s department) and course 1. The student obtains a Withdrawal from the University Form number “999” for undergraduates (Example: PR999) and the depart- from the Office of the Registrar. ment code and “799” for graduate students (Example: PR799). 2. If the student does so in person, the Office of the Registrar will 4. Each Independent Study may be taken for one to three credits advise the student to visit the Dean of Students. in Liberal Arts, 1.5 to six credits in CAD, and one to six credits in If the student withdrawing from the University is not physically CPA and CMAC. on campus, the Office of the Registrar will accept a letter signed by 5. The student is responsible for documenting the content of the the student. After processing the withdrawal, appropriate depart- Independent Study work to other institutions or outside agencies. ments will be notified. 6. Students cannot elect the Pass/Fail or Audit options for Non-attendance in classes or non-payment of tuition does not Independent Study. constitute grounds for withdrawal. The University does not recog- Independent Study cannot fulfill major requirements. Independent nize non-attendance in classes or non-payment of tuition as the Study may serve as free, studio, and liberal arts electives, depending equivalent of withdrawal. on the topic of investigation. Students cannot apply more than 12 total credits of independent study towards their degree requirements. Readmission Credit for an Independent Study cannot be reduced or increased Written appeal for reinstatement as a degree candidate should be after the student has registered. addressed to the Office of the Registrar by June 1 for the fall semester and November 1 for the spring semester. There is a $50 Internships application fee. Appropriate deans, departmental chairpersons/direc- Internships allow matriculated undergraduate students in their junior tors, and the Finance Office must endorse the readmission prior to or senior year to earn academic credit while working in their chosen registration. The major department reserves the right to require tran- field. Internship courses are scheduled during the fall and spring semes- scripts, letters of recommendation, an additional portfolio review, or ters and, with special permission, during the summer. To register for an audition. Credit for courses taken seven or more years prior to the internship, see the course bulletin and the appropriate department for current offerings. Internship courses are graded on a Pass/Fail basis.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 13 With the approval of their dean and department chair/director, stu- Private Lessons dents may take internships during the summer. Those who intend to Private instrumental/vocal lessons for non-majors may be taken do so and wish to receive academic credit for the experience must for elective credit (1.5 credits, seven hours of instruction per pre-register in the spring if the internship is to be included on the fall semester) with permission of the Director of the School of Music. schedule and transcript. (Such courses will be calculated as part of An additional fee is required. the fall credit load for billing purposes.) It is the responsibility of students wishing to take summer internships to identify faculty who Credit Duplication are willing to sponsor and are able to supervise their work. Summer No course, including graduate courses, which has satisfied under- internships cannot be added to the schedule once the internship has graduate degree requirements, may be counted again for graduate begun. credit. Students may not apply more than six internship credits toward their degree requirements, with the exception of students who major Auditing a Course in Dance or Theater. For detailed information please see the Audited courses carry no credit and do not satisfy degree require- Internship section of the Art and Design section of this Catalog, and ments. An audited course may not be repeated for credit. Regular the course descriptions in the back of this catalog. tuition rates are charged for audited courses, and they are included in Undergraduate Minors/Concentrations the full-time tuition charge. Audited courses will be indicated on the transcript with a grade of “AU” and may be registered for until the The University offers minors and concentrations for students who end of the Drop/Add period. wish to focus on a specific discipline through organized electives. Please refer to the college sections of this catalog for information Courses With No Credit about eligibility, prerequisites, and course requirements. You may Courses that reflect no credit on a student’s transcript (such as also contact the departments directly for additional information. Graduate Thesis Continuation, Music Jury, Senior Recital, Students wishing to include a minor as part of their undergraduate Professional Writing Intensive, etc.) or audited courses, still gen- program are governed by the following guidelines: erate tuition and registration fees. Students who have questions 1. Students must meet eligibility requirements, which may regarding registration for non-credit coursework should contact the include a satisfactory grade point average, prerequisites, and depart- Finance Office. mental portfolio review. 2. Intent to complete a minor is declared by filing the completed Minor Declaration Form with the Office of the Registrar. The forms Foreign and Summer Study Programs are available in the Office of the Registrar. Foreign and summer study opportunities are available through pro- 3. A student may not major and minor in the same program, grams hosted by other accredited institutions. Interested students except where indicated. should meet with the chair or director of their major department to dis- 4. Courses applied to the minor may not also be applied towards cuss issues such as program selection, timing, and feasibility. Those the major program requirements. who choose to participate must contact the Registrar and the Financial 5. All minors require a minimum of 15 credits, with the exception Aid Office for advising on transfer of credit and financing options. of E-Music for Music majors. Generally, no substitutions to the minor requirements are allowed. In exceptional situations where Study Abroad and Off-Campus Study substitutions are granted, they must have the approval of both the Students who wish to study abroad or at another U.S. school for major and minor program advisors. one or two semesters as part of the degree program at the University 6. The minor advisor must approve all courses taken as part of a of the Arts will need the advice and approval of their department minor. chair and a written agreement in advance of the courses. This agree- 7. A student pursuing a minor may be required to complete more ment must specify how those courses will transfer back into the than the minimum number of credits required to complete the under- degree program. In most UArts academic programs, off-campus graduate degree in order to also complete the minor. study is most successful when conducted in the junior year. 8. Minors are available only to undergraduate students. Interested students should begin by making an appointment in the college dean’s office to discuss their plans at least six months before Cross-College Elective Options the program begins. Appointments with the Registrar, Financial and Prerequisites Aid, and Billing Offices are also recommended at that time. A stu- The University encourages students to take courses outside their dent maintains his/her status as an active student at the University of major department and college. To facilitate this goal, the University the Arts in one of two ways: by obtaining approval for a Leave of offers a wide selection of courses that are open for enrollment Absence and Approval of Transfer Credit; or, by registering for without prerequisites. Students may select from introductory elec- “Exchange” credits and obtaining Approval of Transfer Credit. The tives and non-major courses. In general, upper-level courses will necessary forms are available in the Office of the Registrar. A stu- have specific prerequisites, which must be satisfied prior to registra- dent’s financial aid package will usually determine the most tion. Students interested in these areas are advised to contact the appropriate registration for the off-campus semester. While away, department chairperson or school director regarding specific course the student should keep the Financial Aid Office informed of any offerings and prerequisite requirements. changes in status. More information regarding Financial Aid can be found in the Financial Aid section of this Catalog. Upon his/her return, a student should make an appointment with the Office of the Registrar to finalize the transferring of credits and receive an accu- rate credit count.

14 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Undergraduates Enrolled for Graduate Credit A student in the final year of the bachelor’s degree program may Grading Policies take a maximum of six credits of graduate courses toward a master’s degree, subject to all of the following conditions: Grading System 1. The student must have completed the junior level of the major. 2. The credits must be over and above the credits required for the A 4.00 C 2.00 bachelor’s degree and may not be applied to that degree. A- 3.67 C- 1.67 3. The student must have a cumulative GPA of 3.00 or better. B+ 3.33 D+ 1.33 4. Permission is granted by the department chairperson/director B 3.00 D 1.00 and dean of the college. B- 2.67 F 0.00 5. No more than a total of six credits, taken either as an under- C+ 2.33 graduate or non-matriculated student, or taken at another college or Grades not included in computing averages: university, may be applied to the graduate program. I Incomplete IP In Progress (Graduate Thesis only) Graduate Courses for Undergraduate Credit NC No Credit WWithdrawal Undergraduate students who wish to enroll in a graduate course OP Optional Pass (Grade of “C” or better) must have junior status (U3), a 3.0 cumulative GPA, and permission OF Optional Fail (Grade of less than “C”) of the instructor to enroll in the course. AU Audit PPass Graduates Enrolled in an Undergraduate Course Graduate students may register for 300-400 level undergraduate Thesis Grading liberal arts courses or 200-400 level studio courses (with permission The grade of “IP” (“In Progress”) signifies that the student is of the graduate director and director of liberal arts) for graduate making satisfactory progress toward completing the graduate thesis. credit. Graduate students will be expected to contribute at a higher This grade will apply only to graduate thesis courses where the stu- level in the classroom and will have additional assignments (read- dent’s thesis is still in progress. ings, papers, etc.) in order to be granted graduate credit. Students This grade is available only for the following courses: are advised to select an area of study that broadens or intensifies AE 649 Graduate Project/Thesis their background in the arts, education, and related disciplines. MS 749 A/B Thesis Development Often this work contributes directly to preparation of the graduate ID 749 Master’s Thesis Documentation project proposal. FA 795 MFA Thesis Exhibition MU 603 Graduate Project/Recital Graduate Thesis Requirements CAD graduate programs require each graduate student to meet An “IP” grade acknowledges the fact that the final course product specific thesis requirements. The requirements may include a thesis (thesis) may require some period of time past the semester of regis- exhibition or project, and should be successfully completed once the tration to complete. The “IP” grade will remain on the student’s student has fulfilled all other program requirements. Students must record until a final thesis grade is submitted by the instructor. In submit three copies of their thesis to their program director in order some cases, a student will be registered for thesis courses as a to qualify for the degree. One copy of the thesis remains with the sequence (e.g., MS 749 A/B). When the final grade is submitted by department and two are submitted to the Greenfield Library. the instructor, it will replace the “IP” grade. The “IP” grade is not computed in the grade-point average. Graduate Project/Thesis Continuation Fee In order to remain in good standing while the thesis is “in A student who has completed all the course requirements for the progress,” the student must register for the thesis continuation fee master’s degree and is currently working on the graduate thesis, for each semester he or she is not enrolled in coursework. either on or off-campus, must register and pay a graduate thesis con- tinuation fee per semester until the thesis is completed and accepted. Computing Grade-Point Average (GPA) This registration, through the Office of the Registrar, is required in The GPA is computed by multiplying the number of credits each succeeding semester, excluding the summer sessions, until all earned for a course by the numerical value of the grade. The degree requirements are met. Students completing a degree in the resulting figures from all courses for that semester are then totalled, summer must pay the thesis fee in the final summer semester. and this figure is divided by the total number of credits attempted that semester. The grades of I, IP, NC, W, OP, OF, P, and AU are not entered in this computation. Dean’s List This list is compiled each semester in the respective deans’ offices. The Dean’s List honors those undergraduate students who have met the following criteria: 1. Students are full-time undergraduate degree candidates. Candidates for certificate, diploma, and master’s degrees are not eligible.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 15 2. A minimum semester GPA of 3.60. mented circumstances and are numerous enough that it is impossible 3. No grade lower than a “B” in any course. for the student to qualify for advancement, the student may be 4. No grade of “I” or “F” in any course. advised to withdraw from the course. If the course is required, the 5. Enrolled in at least 12 credits for a letter grade. student will also be required to repeat the course in a subsequent semester. Pass/Fail Option 1. In courses taken on a Pass/Fail basis, the standard letter grades Class/Lesson Cancellations or Lateness of Instructor of “A” to “C” are converted to “OP” by the Registrar. A grade of “C- Students must check every morning for notices regarding class or ” to “F” is recorded as “OF.” lesson changes. Such notices are posted in a designated area. If none 2. The Pass/Fail grading option must be selected prior to the end is posted for the scheduled class or lesson and the instructor is not of the Drop/Add period; no change from Pass/Fail to a regular grade present, students are expected to wait 10 minutes for an hour-long or a regular grade to Pass/Fail may be made after that deadline. class/lesson and 15 minutes for those of longer duration. In the event 3. Grades of “OP” or “OF” are not computed in the grade- the instructor fails to appear within the 10-15 minute waiting period, point average. students are to report to the appropriate School Director’s or 4. The Pass/Fail policy stipulates that the instructor is not to be Department Chairperson’s office and may then leave without penalty. informed as to who is enrolled on a Pass/Fail basis. 5. Availability of this option is limited to a total of nine credits in Academic Grievance Procedure Liberal Arts courses or studio electives during the student’s under- Students who have a concern or grievance regarding an academic graduate career. Pass/Fail courses may not include First Year matter are encouraged to discuss their concern directly with the Writing, Introduction to Modernism, or any required discipline his- instructor. If they are not comfortable presenting their concern in tory course. person, or are not satisfied with the outcome of the discussion they should submit their grievance in writing to the instructor, and send a Notice of Deficiency copy to the chair/director of the department in which the instructor Instructors may advise a student of unsatisfactory performance in resides. The instructor must respond, in writing, to the student the course with a Notice of Deficiency. within 10 business days. If the student believes that his/her concern requires further attention he/she may submit the matter in writing to Grade of Incomplete (“I”) the Office of the Dean of the college in which the course is offered, An incomplete grade may be granted only in extraordinary cir- or to the Office of the Director of Liberal Arts when applicable. cumstances, either personal or academic, which prevent the student If the Office of the Dean/Director of Liberal Arts does not rule on from completing coursework by the end of the semester. The grade the matter, he/she may convene an Academic Grievance Committee “I” is given only when the completed portion of the student’s or similar committee to review the concern. The composition of the coursework is of a passing quality. To receive the grade of Academic Grievance Committee is determined by the Dean/Director Incomplete, the student must obtain written approval on the of Liberal Arts. As a last resort, the Office of the Dean/Director Incomplete Form from the course instructor, and the Dean of the and/or the student may forward concerns to the Office of the Provost College or the Director of Liberal Arts prior to the conclusion of the for final resolution. semester. Please note that a student may request the assistance of any pro- Incomplete grades not cleared by the end of the sixth week of the fessional member of the university community at any stage of the following semester will be automatically assigned the grade of “F.” grievance process. Incomplete Forms are available from the Office of the Registrar. Change of Grade Class Attendance An instructor may change a grade only if an error occurred in All students are expected to attend classes regularly and promptly, computing or recording the final grade, or if reevaluation of previ- and for the duration of the scheduled instructional time. Individual ously submitted work is warranted. Extra work, beyond that required instructors will decide the optimum time for taking attendance and of other class members during the period when the class met, or may penalize for habitual lateness or absence. Repeated, unexcused work handed in after the completion of the course, may not be absences may result in a grade of “F” for a course. offered as reasons for a grade change. Students who withdraw from a course or the University must do In exceptional circumstances, a student may be granted an so through the Registrar’s Office. Non-attendance does not consti- Incomplete, which is posted to the transcript as an “I”. Once the tute an official withdrawal. work for the course has been completed, a Change of Grade Form must be submitted to the Office of the Registrar in order to convert Absences the “I” to the earned grade. Please refer to the section of this catalog Full participation is expected of all UArts students and is neces- titled “Grade of Incomplete” for more information. sary to fully benefit from and succeed in our programs of study. If a student questions the correctness of a grade, the student Absences from class may result in a lowered grade or an “F” in should address his/her concern in accordance with the Academic the course, depending on the attendance policies stated by the Grievance Procedures listed above. instructor on the syllabus. It is the responsibility of the student to Any change of a final grade may only be made by the course arrange with his/her instructor(s) to make up all missed work. instructor, who must personally submit the signed Change of Grade Failure to do so will also affect the student’s grade. Form, including the signature of the college dean, to the Office of In the event that absences are the result of extraordinary, docu- the Registrar no later than the end of the semester following the one in which the grade was given.

16 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Academic Review Graduate Probation and Dismissal Policies Undergraduate students who maintain a minimum 2.0 cumulative A minimum cumulative GPA of 3.0 is required for good standing and semester grade-point average (GPA) are considered to be in and for graduation for graduate students. If a student is unable to good standing. In some programs students must also satisfy min- achieve a semester or cumulative GPA of 3.0, he or she will be imum grade requirements in major coursework. (Please refer to the placed on probation. If a 3.0 GPA and/or other conditions are not department sections of this catalog for more specific information on attained by the following semester, the student may be dismissed minimum grade requirements for certain majors.) Students who fail from the program. While on Probation, a student will be ineligible to to meet these minimum requirements will be reviewed by the hold a graduate assistantship or to receive a University supplemental Academic Review Committee. The Committee evaluates the record grant-in-aid or scholarship. of such students, determines their academic status, gives bench- marks for progress in order to assist their return to good standing, Appeal and, when appropriate, dismisses students, according to University Students who are dismissed may make an appeal to the Academic policy. Review Committee regarding the dismissal. In order to request a hearing for an Appeal by the Academic Review Committee, students Academic Censure must contact the dean’s office of their college by the date indicated in the Letter of Dismissal. Students must also deliver a written Probation request for an appeal to the committee at the time of the hearing, and The Academic Review Committee places students who are no will be notified of the committee’s decision at the completion of the longer in good standing on Probation, in accordance with University hearing. policy. The Committee can also place additional requirements on students to encourage adequate progress towards completion of the degree and improved academic performance. These activities may Graduation Requirements include repeating courses, meeting with advisors, limiting the It is the student’s responsibility to complete the requirements of number of credits taken in a given semester, tutoring, and/or coun- the degree program in which he or she is enrolled. seling. Students placed on Probation will receive a letter from the dean’s office of their college on advisement from the Academic Residency Requirements Review Committee, in which the terms and conditions of the The time it takes for a student to reach graduation will depend Committee’s decision are explained. upon the time needed to fulfill The University of the Arts’ degree requirements. Dismissal Every transfer student must complete a minimum of four full-time The Academic Review Committee may also dismiss students: semesters in residence preceding graduation and must earn a 1. After three consecutive semesters on Probation. minimum of 48 credits in studio and/or Liberal arts courses. (Note: the number of consecutive semesters on probation prior to Transferable credits will be applied only to the specific studio and dismissal may be reduced for students with a GPA below 1.5.) Liberal arts requirements stipulated for a UArts degree. For this 2. After a single semester GPA below 1.0. reason, transfer students may be required to remain in residence at 3. After continued failure to fulfill academic probationary require- the University for more than the minimum four semesters and to ments specified by the Academic Review Committee. complete more than the minimum 48 credits, regardless of the number of credits earned at previously attended institutions. Students who are being dismissed will receive a Letter of Transfer credit is evaluated by the department chair or school Dismissal from the Office of the Dean of their college. Guidelines director and the Director of Liberal Arts in consultation with the for appeal of a dismissal, in the event of extenuating circumstances, Office of the Registrar. are described in the Letter of Dismissal. Any student whose appeal of dismissal is upheld and who is permitted to enroll will automati- Undergraduate Degree Requirements cally be placed on Probation until the stated conditions are met. To be certified for a degree, a student must: ¥ submit a Petition for Award of Degree to the Academic Censure and Financial Aid Office of the Registrar, Academic censure imposed by the Academic Review Committee ¥ fulfill all degree requirements, may have financial aid ramifications, including loss of financial aid ¥ satisfy the minimum residency requirements after two consecutive semesters on Probation, (or as the result of not (four semesters in residence, a minimum of 48 UArts credits), completing the minimum number of credits per year). Please refer to ¥ achieve a minimum cumulative GPA of 2.0 (C average), and the Financial Aid section of this catalog for more specific information. ¥ receive the approval of his/her department chairperson or director as having met all major requirements, including any and Disciplinary Dismissals all requirements unique to the department. In addition to Academic Dismissal, the University may dismiss Once the student has submitted a Petition for Award of Degree, students for disciplinary reasons. In such cases, students will auto- and the Registrar has certified that student as having completed the matically receive the grade of “W” for all classes in which they were degree requirements, the degree will be awarded. Two-year certifi- enrolled at the time of dismissal. For more information on discipli- cates are awarded only to students who are in residence and are nary action, please refer to the Student Code of Conduct section in matriculated in the certificate program. this catalog.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 17 Graduate Degree Candidacy and Completion Midway through the program, each graduate student’s progress in his/her discipline and thesis proposal will be reviewed by the appro- priate Graduate Committee to formally determine whether a student becomes a degree candidate, and is ready to continue toward devel- opment and completion of the thesis or graduate project. Graduate students have up to seven years from matriculation date to complete a two-year master’s program, and up to six years from matriculation date to complete a one-year program. 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 and ¥ achieve a minimum cumulative GPA of a 3.0 (B average). Graduation – Conferral of Degrees and Diplomas Students expecting to complete requirements for a degree within the year (December, May, or August) are required to file a Petition for Award of Degree with the Office of the Registrar by the deadline indicated below. The Office of the Registrar is responsible for certi- fication of completion of requirements for the degree. Students may and are encouraged to petition during registration at the time of their final semester. Deadline for submission of Petitions: ¥ July 15 Ð August completion ¥ November 15 Ð December completion ¥ February 15 Ð May completion

Degrees and diplomas are conferred once a year at the spring Commencement Exercises. For students who complete degree requirements in other terms, the transcript will be posted “degree granted” with either the date of December 31 for the fall semester or August 31 for summer semester graduates. Diplomas will be mailed to August and December graduates’ permanent address approxi- mately six weeks after the graduation date. Graduation with Honors Candidates for the baccalaureate degree may graduate with honors only if they achieve a minimum cumulative GPA of 3.6.

18 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Undergraduate Degree Requirements

Undergraduate and Graduate Course Catalog 2003 • 2004 Liberal Arts Distribution (21 credits) Undergraduate Degree The liberal arts distribution requirement ensures that students Requirements have an opportunity to explore the literature, philosophy, institu- tions, and arts of their own and other cultures. Acquaintance with the humanities, social sciences, and natural sciences is essential for any Understanding the degree requirements is crucial to the smooth educated person to understand the world, and provides a knowledge progression to graduation. Students, both new freshman and trans- base for informing the creative endeavors of the artist. The specific fers, are encouraged to consult with their academic advisors distribution requirements are outlined in the section titled Division regularly to ensure that they are making appropriate progress toward of Liberal Arts. their degree and to consult their advisor and the Office of the Registrar for assistance and clarification of degree requirements. An Major (varies by program) overview of the degree requirements for the baccalaureate follows. Major requirements have been carefully designed by the faculty to Please refer to the section of the catalog that describes the major provide the student a professional education in his or her chosen programs and to the Division of Liberal Arts section for specific field of study. Refer to the appropriate section of the catalog for spe- course requirements. Students should also keep in close contact with cific major and departmental requirements. their academic advisors regarding official departmental and major- specific requirements. Free Electives (9 credits) Most UArts undergraduate degrees require from 123 to 129 credits. A full-time student, however, may enroll for as many as 18 Free electives play an important role in the University’s mission credits per semester, resulting in a possible 144 credits over four of providing a dynamic milieu for creative exploration, innovation, years. Students who are interested in additional electives, or who and intellectual investigation, extending the practice and under- wish to fulfill a minor by taking additional electives, are strongly standing of the arts and the arts professions. They give the student encouraged to consult with their advisor to develop an effective plan the opportunity to explore subjects beyond those offered or required for completion of their degree requirements and fulfillment of their by the major department and encourage educational autonomy on personal educational goals. the student’s part. An elective is defined as any studio or liberal arts course, that is neither a requirement for the student’s major nor a requirement for Liberal Arts (42 credits) the University’s liberal arts core. Electives are courses that a student Freshman Common Core (12 credits) can choose freely without restriction. While advisors may make rec- First Year Writing ommendations regarding electives, the final choice for elective Introduction to Modernism courses must rest with the student. Obviously, prerequisites and corequisites apply to any course that a student may elect to take. All students at The University of the Arts must take First Year Every major undergraduate program at the University contains at Writing and Introduction to Modernism. least nine credits of free electives. Please refer to the program Freshmen typically take two semesters of First Year Writing requirements for further information on specific department require- (HU 110 A/B). Based on transcripts, SAT scores, TSWE scores on ments; some programs have as many as 21 credits of electives built the verbal text of TOEFL (Test of English as a Foreign Language), into the degree requirements. and a placement test, students may be placed in HU 008 (ESL) or HU 009. These courses do not satisfy the First Year Writing require- ments and will not apply toward degree requirements. Students who successfully complete HU 008 or HU 009 will then take HU 110 A, or may in some cases be assigned to HU 109 B, First Year Writing, which counts toward the degree and substitutes for HU 110 A. In addition, freshmen take two semesters of Introduction to Modernism (HU 103 A/B). Students in HU 008 (English as a Foreign Language) and HU 009 begin the Introduction to Modernism sequence in the second semester of their studies at the University. Satisfactory completion of the First Year Writing sequence is required prior to registration for HU 130 and above liberal arts courses. In addition, failure to complete this sequence will prevent the student from proceeding in his or her major studio coursework. Discipline History (9 credits) Discipline history courses acquaint students with the historical framework of their respective majors. These courses provide a his- torical foundation and mark the intersection of professional training and liberal arts education. The specific courses fulfilling this requirement vary by college and major.

20 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 knowledge of citation procedures will not be an acceptable explana- Division of Liberal Arts tion for plagiarism. 2. Papers must be free of consistent patterns of error in punctua- Peter Stambler tion and grammar and must be spell-checked and proofread. [email protected] 3. Papers must be word-processed and printed with appropriate Director margins. In addition, papers must be conceptually and visually 215-717-6262 divided into paragraphs as appropriate. In addition to the major requirements for earning a bachelor’s Liberal Arts Requirements degree at The University of the Arts, all undergraduate students are required to complete approximately one-third of their studies in the Common Core 12 credits liberal arts, reflecting the University’s conviction that the liberal arts HU 110 A/B First Year Writing 6 credits are essential for the education of artists, designers, performers, and HU 103 A/B Introduction to writers. The aims of the division are to develop students’ powers of Modernism 6 credits critical thinking and their understanding of the history and criticism of the creative arts, to introduce them to philosophic and scientific modes of thought, and to the study of human cultures and societies. In sum, we aim to refine students’ perceptions of both their inner world and Discipline History (DH) 9 credits the outer world and to help make them both intellectually responsible Majors in: and creative. The Liberal Arts Division represents a common ground Acting TH 311 A, TH 311 B, TH 213 in the curriculum where students from all the colleges meet. It thus Animation HU 140 A, HU 140 B, WM 251 offers a unique forum for artistic and academic exchanges. Applied Theater Arts TH 213, TH 311 A, TH 311 B Students are expected to meet with their advisors regularly and are Communication CM 250, CM 251, CM 260 responsible for knowing and fulfilling their liberal arts requirements. Crafts HU 140 A, HU 140 B, HU 253 Dance DA 211 A, DA 211 B, DA 117 Film HU 140 A, HU 140 B, WM 251 Transfer Credit Policy Fine Arts (PT, PR, SC) HU 140 A, HU 140 B, Art History and Requirements elective New Students: Graphic Design HU 140 A, HU 140 B, HU 254 Illustration HU 140 A, HU 140 B, Art History The University of the Arts will accept, after review, transfer credit elective for liberal arts courses completed elsewhere provided that the Industrial Design HU 140 A, HU 140 B, HU 251 coursework completed is determined to be equivalent to University Multimedia MM 271, six credits chosen from any of the Arts offerings, is from an accredited college or university, and Arts/Discipline History a grade of “C” or better was earned. Students are required to present Music * Performance and Composition: official transcripts of courses taken at other institutions, as well as MU 301 A, MU 301 B, MU 401 B course bulletins in order for evaluation of transfer credits to take Vocal: place. Contact the Office of the Registrar for further information. MU 301 A, MU 301 B, TH 312 A Musical Theater TH 312 A, TH 312 B, TH 213 Enrolled Students Photography HU 140 A, HU 140 B, HU 255 Once they have matriculated, students may transfer up to 15 Writing Film and TV HU 320 A, HU 320 B, WM 253 credits in the liberal arts, provided they have not already transferred that many or more at the time of matriculation. Students who wish to *Additional discipline history course required (MU 401 A) counts take liberal arts credits at other colleges must secure prior written toward major requirements. approval from the Director of the Division of Liberal Arts. Such courses may not duplicate courses already taken for credit at The University of the Arts. Liberal Arts Distribution 21 credits Credit-Hour Ratio Social and Behavioral Sciences (SS) 6 credits Liberal arts credit is earned at the ratio of 1 credit per class con- Natural Science and Mathematics (SCI/M) 3 credits tact hour. Literature (LIT) 3 credits Humanities (HU) 3 credits University Writing Standards Liberal Arts Electives 6 credits The faculty of the University have established a standard of pro- fessionalism for all formal papers written for liberal arts and studio courses. 1. Citations of any text used must be documented as appropriate. The MLA and APA styles, as detailed in Diane Hacker’s A Writer’s Reference, are taught in First-Year Writing HU 110 A/B. Lack of

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 21 Liberal Arts Distribution Requirements Distribution

This grid shows how liberal arts courses may be used to satisfy HU 250 History of Sculpture AH/HU the liberal arts distribution requirement. HU 251 History of Industrial Design AH/HU HU 253 History of Crafts AH/HU Key: LIT = Literature HU 254 History of AH = Art History Communication Design AH/HU (DH/GD) SS = Social Science HU 255 History of Photography AH/HU SCI/M = Science/Math (DH/Photo majors) HU = Humanities HU 259 Listening to Music HU DH = Discipline History HU 260 A Human Origins and Primates SS Distribution HU 260 B Human Evolution SS HU 261 Observing Humans SS HU 130 A French I HU HU 262 A History of China SS HU 130 B French I HU HU 262 B History of Japan SS HU 131 A German I HU HU 263 History of Italian Renaissance SS HU 131 B German I HU HU 264 Modern American History SS HU 132 A Italian I HU HU 265 Introduction to Folklore SS HU 132 B Italian I HU HU 266 A History of Classical World SS HU 266 B History of Medieval Europe SS HU 140 A Art History Survey I HU (DH/all CAD majors) HU 267 Introduction to HU 140 B Art History Survey II HU (DH/all CAD majors) Cultural Anthropology SS HU 268 Introduction to the Bible SS HU 162 Individual and Society SS HU 270 Introduction to Aesthetics HU HU 181 A Child and HU 272 Money Matters SS Adolescent Psychology SS HU 274 Introduction to Philosophy HU HU 181 B Adult Psychology SS HU 281 Dynamic Anatomy SCI/M HU 201 Lyric Poetry LIT HU 282 A Fundamentals of College Math. SCI/M HU 210 A 19th C. American Writers LIT HU 282 B Calculus SCI/M HU 210 B 20th C. American Writers LIT HU 283 Probability SCI/M HU 211 Women Writers LIT HU 285 A Life Sciences SCI/M HU 212 Introduction to Mythology LIT HU 285 B Physical Sciences SCI/M HU 213 World Drama LIT HU 286 Science and Pseudoscience SCI/M HU 216 The Short Story LIT HU 288 Introduction to Brain, HU 217 African American Literature LIT Mind and Behavior SCI/M HU 218 Super Heroes LIT HU 289 Contemporary Issues in HU 219 Children’s Literature LIT Life Sciences SCI/M

HU 221 Forms of Autobiography LIT HU 292 Introduction to World Religions SS HU 230 A French I HU HU 293 Dance and Expressive Culture HU HU 230 B French II HU HU 232 A Italian I HU HU 310 The Stories of Chekhov LIT HU 232 B Italian II HU HU 311 Greek Drama LIT HU 313 Poetry Writing Workshop HU/LIT HU 240 Ancient Art AH/HU HU 314 Literature and Film LIT HU 241 Medieval Art AH/HU HU 315 A Modern Drama LIT HU 242 A Northern Renaissance Art AH/HU HU 315 B Contemporary Drama LIT HU 242 B Italian Renaissance Art AH/HU HU 316 American Playwrights LIT HU 243 Baroque Art AH/HU HU 317 Romanticism LIT HU 244 Mythology in Oriental Art AH/HU HU 318 Literature of HU 245 A History of Western Arch. I AH/HU the Roman Empire LIT HU 245 B History of Western Arch. II AH/HU HU 246 19th Century Art AH/HU HU 248 A Film History HU (= WM 251) HU 248 B Issues in National Cinema HU (= WM 252)

22 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Distribution Distribution

HU 320 A MasterpiecesÐ HU 381 Urban Wildlife SCI/M Western Tradition I LIT (DH/WFT majors) HU 382 Social Psychology SS HU 320 B MasterpiecesÐ HU 383 Personality and Adjustment SS Western Tradition II LIT (DH/WFT majors) HU 384 Abnormal Psychology SS HU 322 Scriptwriting HU/LIT HU 385 Concepts of Modern Physics SCI/M HU 323 Arts Criticism HU HU 386 Human Genetics SCI/M HU 325 Fiction Writing HU/LIT HU 388 Perception SCI/M HU 326 Contemporary Arts in America LIT HU 389 Evolution in Modern Perspective SCI/M HU 342 Arts of China AH/HU HU 390 Mass Media SS HU 343 Art of Venice AH/HU HU 392 American Musical Theater HU HU 344 Avant-Garde Cinema HU HU 393 African American Culture SS/HU HU 345 Modern Architecture AH/HU HU 394 Play, Performance HU 346 Folk Art and Architecture AH/HU and Literature HU HU 347 Arts of Africa AH/HU HU 348 American Art to 1945 AH/HU HU 410 The Uncanny LIT/HU HU 349 American Film Genres HU HU 411 A Renaissance Literature LIT HU 411 B Shakespeare LIT HU 351 Electronic Video HU HU 412 Detective Film and Fiction LIT HU 353 A Impressionism AH/HU HU 413 Literature and Film: HU 353 B Post Impressionism AH/HU From Text to Screen LIT HU 354 Women Artists AH/HU HU 414 A Big Fat Famous Novel LIT HU 355 Dada and Surrealism AH/HU HU 414 B European Novel LIT HU 357 Modern Art AH/HU HU 415 A Modern Poetry LIT HU 359 Politics and the Media SS HU 415 B Contemporary Poetry LIT HU 416 Contemporary Novel LIT HU 360 A Renaissance and Reformation SS HU 417 Lyric LIT HU 360 B Age of Enlightenment SS HU 419 American Modernists LIT HU 361 Islam: Religion and Culture SS HU 362 A American Civilization I SS HU 420 Major Writers LIT HU 362 B American Civilization II SS HU 421 On the Nature of HU 363 Modern Culture SS Poetry and Art LIT HU 364 Sociology of Art SS HU 422 American Politics HU 365 A Latin American and Culture 1945-75 LIT/SS History and Culture SS HU 423 Literature and Opera LIT HU 365 B Latin American HU 424 Latin American Literature LIT History and Culture SS HU 428 Portraits of the Artist LIT HU 366 The City SS HU 367 Eastern Religions SS HU 440 Wagner and the Ring Cycle HU HU 368 Sociology of Politics SS HU 442 Abstract Expressionism AH/HU HU 369 Cultural Ecology SS HU 448 A American Art Since 1945 AH/HU HU 448 B European Art Since 1945 AH/HU HU 370 Greek Philosophy HU HU 449 Diaghilev and the Ballet Russe HU HU 371 The American Suburbs SS HU 372 Continental Philosophy HU 450 Arts of India AH/HU and Existentialism HU HU 451 Arts of Islam AH/HU HU 373 Ethics HU HU 452 Topics in Design AH/HU HU 374 Personality and Creativity SS HU 453 Arts of Japan AH/HU HU 377 Critical Theory and the Arts SS/HU HU 456 Major Artists AH/HU HU 378 Psychology of Touch SS 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 HU 478 Aesthetics Seminar HU

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 23 Distribution Key: LIT = Literature SS = Social Science HU 480 Psychology of Creativity SS SCI/M = Science/Math HU 481 A Physics SCI/M HU = Humanities HU 481 B Physics SCI/M DH = Discipline History HU 483 Theories of Personality SS HU 484 Educational Psychology SS

HU 492 Vienna and Berlin HU HU 495 Dante in the Modern World LIT HU 497 Women and Sex Roles LIT

AE 549 Program Design & Methods: Aesthetics/Art Critism HU

CM 250 History of Communication SS CM 251 Communication Theory and Culture in the 20th Century SS

CM 260 Media Industries SS

CM 293 History of Documentary 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)

MM 271 Survey of Multimedia HU

MM 360 Psychology of Human/Computer Interaction SS

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 20th 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) WM 253 History of Television HU

24 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Liberal Arts Faculty Jack DeWitt Elise Juska Professor Senior Lecturer Juan Sebastian Agudelo BA, Northeastern University BA,Bowdoin College Adjunct Assistant Professor MA, PhD, University of Connecticut MA, University of New Hampshire BA, MA, Southern Illinois University Mary Ellen Didier Anne Karmatz Steven Antinoff Senior Lecturer Adjunct Associate Professor Senior Lecturer BA, University of Wisconsin BA, University of Pittsburgh BA, MA, PhD, Temple University MA, University of Chicago MS, University of Pennsylvania MA, Villanova University John Baker Samuel Durso Visiting Assistant Professor Assistant Professor Anita Lam AB, Washington University BA, MA, Temple University Adjunct Assistant Professor STB, Gregorian University BA, Beaver College PhD, Brown University Richard Farnum MA, Temple University Associate Professor Yana Balson AB, Princeton University Cris Larson Senior Lecturer PhD, University of Pennsylvania Senior Lecturer BA, Pennsylvania State University BFA, Rhode Island School of Design MA, Temple University Kevin Finn MFA, Rutgers University Senior Lecturer Susan Barry BA,Wilkes University Sharon Lefevre Senior Lecturer MA, University of Delaware Adjunct Assistant Professor BA,Nova Scotia College of Art BA,Princeton University and Design Janet Fishman MA, MPhil, Columbia University MA, University of Sussex Senior Lecturer BA,Brandeis University Mary Martin Ann Richman Beresin MA, Villanova University Adjunct Assistant Professor Assistant Professor BA, Macalester College BA,Tufts University Eileen Flanagan MA, Washington University MEd, Harvard University Senior Lecturer PhD, University of Pennsylvania BA, Duke University Mara Miller MA, Yale University Senior Lecturer Stephen Berg BA, Cornell University Professor Cheryl Floyd MA, University of Michigan BA, State University of Iowa Adjunct Assistant Professor PhD, Yale University BA, Chestnut Hill College Donald Chant Bohn MA, PhD, Temple University Slavko Milekic Senior Lecturer Associate Professor BS, Gettysburg College Nancy Heller M. Sc., MD Belgrade University, Professor Yugoslavia Gerard Brown AB, Middlebury College PhD, University of Connecticut Senior Lecturer MA, PhD, Rutgers University BFA, Boston University Chris Myers MFA, School of the Art Institute Eugene Howard Associate Professor of Chicago Senior Lecturer BA, University of Toledo BA, Antioch University MFA, Yale University Thomas Ceneri MA, Norwich University Senior Lecturer Stewart Netsky BA, SUNY Purchase Jamer Hunt Adjunct Associate Professor MA, City College of New York Associate Professor BS, Drexel University BA,Brown University MA, Philadelphia College Art Nancy Davenport PhD, Rice University MFA, Tyler School of Art Professor BA, MA, Bryn Mawr College John Jernigan Paul Nolan PhD, University of Pennsylvania Senior Lecturer Adjunct Assistant Professor BA,Swarthmore College BA, Shenandoah Conservatory of Music MA, Temple University MA, Hahnemann University

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 25 Martin Novelli David Spolum Stanley Ward Adjunct Professor Senior Lecturer Adjunct Assistant Professor BS, St. Joseph’s University BSS, Cornell College BA, Duke University MA, Purdue University MA, Temple University MA, PhD, Harvard University PhD, JD, Temple University Noah Brodie Spring Faith Watson Charles F. Pennacchio Senior Lecturer Master Lecturer Associate Professor BA,Yale University BA, MA, University of Pennsylvania BA, University of California, Berkeley MFA, University of Southern California MA, PhD, University of Colorado Carla Weinberg Peter Stambler Adjunct Associate Professor Andrew Petto Director of Liberal Arts Dottore in Lingue, University of Pisa Associate Professor Professor BA, Middlebury College BA,Yale University Burton Weiss MA, PhD, University of Massachusetts, MFA, Carnegie-Mellon University Adjunct Professor Amherst PhD, Syracuse University BA, MA, PhD, Princeton University

Steve Reeder Andrew Stein Toby Zinman Senior Lecturer Senior Lecturer Professor BA,West Chester University BA,Grinnell College BA, MA, PhD, Temple University MA, Villanova University MA, PhD, Indiana University

Robin Rice Patricia Stewart Adjunct Assistant Professor Adjunct Associate Professor BFA, Ohio Wesleyan University BA, University of Pennsylvania MA, University of Missouri Dena Sukol Catherine Robert Senior Lecturer Adjunct Assistant Professor BA,JD, Temple University BA, Connecticut College for Women MA, PhD, University of Pennsylvania Fabian Ulitsky Associate Professor William Rudolph BA, MEd, Temple University Senior Lecturer BA, University of Nebraska, Lincoln Pippa Vanderstar MA, University of Virginia Master Lecturer AB, Princeton Sid Sachs MA, New York University Senior Lecturer MPhil, Oxford University BFA, Tyler School of Art DPhil, Oxford University MFA, Rutgers University Judith Vassallo Mikhail Sergeev Adjunct Professor Adjunct Assistant Professor BA, American International College BA, Moscow State University MA, University of Pennsylvania MA, PhD, Temple University Susan T. Viguers Martha Shaw Professor Senior Lecturer BA,Bryn Mawr College BA, Smith College MA, University of North Carolina at Chapel Hill Kiernan Slater PhD, Bryn Mawr College Senior Lecturer BA,Davidson College Pierre Vilain MA, Georgetown University Senior Lecturer BA,Tufts University Frank Smigiel MA, New York University Adjunct Assistant Professor PhD, University of Pennsylvania BA, University of Pittsburgh MA, PhD, University of Delaware

26 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 College of Art and Design

Undergraduate and Graduate Course Catalog 2003 • 2004 College of Art and Design Major Areas of Study The College offers coursework toward the BFA, BS, MFA, MA, MAT, or MID degree with major programs in: Stephen Tarantal, Dean Bachelor of Fine Arts [email protected] Animation Adrienne Stalek, Assistant Dean Crafts (Ceramics, Fibers, Metals, and Wood) [email protected] Film/Digital Video 215-717-6120 Graphic Design Illustration The College of Art and Design is a comprehensive visual arts col- Painting and Drawing lege offering a full range of undergraduate and graduate programs in Photography fine arts, crafts, design, media arts, art education, and museum com- Printmaking/Book Arts munication and education. All programs are dedicated to the Sculpture development of the individual artistic spirit and vision within each Bachelor of Science student; the study of the historical and contemporary precedents that Industrial Design have shaped our culture; and the full range of analog and digital methods and processes that give form to the visual arts. The College also offers the following graduate degree programs: Master of Art Art Education Museum Communication Museum Education Master of Art in Teaching Visual Arts Master of Fine Arts Book Arts/Printmaking Ceramics Museum Exhibition Planning and Design Painting Sculpture Master of Industrial Design

These special undergraduate and graduate programs are also offered: Special concentration in Art Therapy Pre-certification program in Art Education Post-baccalaureate certificate program in Crafts Class Size and Structure Each department is unique, with its own curriculum and structure, but in every department, classes are small and informal. Faculty advisors and the generous student/faculty ratio assure close indi- vidual attention and assistance throughout a course of study. One of the important teaching modes in the college is the critique, or “crit,” an evaluation of student work by the instructor 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 invaluable method for the development of critical thinking and self-awareness, which are major educational goals in our programs. Credit-Hour Ratio In general, credit is earned at the ratio of one credit for two class- contact hours in studio courses. Please refer to the course descriptions for specific information. Return Degree Program Diploma graduates of the Philadelphia College of Art may apply credits earned for the diploma toward the University’s baccalaureate requirements. For additional information and to apply, contact the Office of the Registrar.

28 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Exhibition Program Additionally, the Electronic Media Department offers studio elective courses in computer concepts, virtual sculpture, digital multimedia, The Exhibition Program showcases major contemporary exhibi- and electronic media production, at introductory, intermediate, and tions related to the University’s diverse academic curricula in advanced levels for all students regardless of their major. UArts design, crafts, and the fine arts. remains dedicated to continuing this leadership role of preparing Over the years, the Rosenwald-Wolf Gallery, the University’s pri- students for career opportunities in traditional and electronic media. mary exhibition space, has attracted national and international artists to the campus. Artists who have had one-person exhibitions in the gallery include Vito Acconci, Siah Armajani, Alice Aycock, Willie Typography/Imaging Lab Cole, Gregory Crewdsen, Richard Fleishner, April Gornik, Lois The Imaging Lab is a fully equipped pre-press and output facility Greenfield, Alex Grey, John Hejduk, Daniel Jackson, Barbara that accommodates Book Arts, The Borowsky Center for Publication Kasten, Mel Kendrick, Jon Kessler, Donald Lipski, Henry Moore, Arts, Graphic Design, Illustration, Media Arts, and Printmaking, Ree Morton, Robert Motherwell, Thomas Nozkowski, Irving Penn, among many other departments. We have a traditional darkroom Anne and Patrick Poirer, Yvonne Rainer, Judith Shea, Pat Steir, with three copy cameras, two enlargers, and one contact frame. Non- Lenore Tawney, Paul Thek, George Trakas, and Lebbeus Woods. In silver classes do all their darkroom work in this facility. The output addition, the gallery has presented notable historic exhibitions of center houses a Dolev 400 image-setter, film processor, Cannon design: Alexei Brodovich, Czech Cubism, Charles Eames, frogde- CLC 900 color fiery printer, HP large-format six color printer, and sign, and Memphis. three Macintosh workstations. We process film and color output for Additional exhibition spaces in Dorrance Hamilton Hall Galleries, student work and departmental needs. Students are able to work in the Solmssen Court Gallery, and the Window on Broad furnish the lab under technicians and learn the workings of pre-press and opportunities for faculty, alumni, students, and regional talents. high-end digital output. Imaging workshops are held with classes in Nearly every department also launches its own series of exhibits. the lab, as well as one-on-one consultations with students in the final The galleries in Media Arts, The Mednick and 1401, the Painting/ stages of creative digital work for critiques, portfolios, and thesis Drawing Gallery, the Printmaking Gallery, the Richard C. von Hess exhibitions. Illustration Gallery, and the Ceramics/Sculpture Gallery all show work of emerging and established artists. Student-run invitational and Media Arts Studios juried exhibitions in Gallery One give students the experience of The Media Arts Department (photography/film/digital video/ ani- installing shows. Museum Exhibition Planning and Design MFA stu- mation) provides students with high-end equipment and studios dents gain experience and skills from their practical work in the modeled after professional environments. Media Arts houses two galleries. Highlights of the year are the Annual Student Show, a fea- Master Series Oxberry animation stands, as used by Disney and tured Commencement event, the Student Scholarship Exhibition, and other professional firms, to film animation drawings, which enable Senior Student and Master of Fine Arts exhibitions. students to produce professional-quality work. In addition, Media Arts digital facilities include three AVID digital video editing sys- tems, a state-of-the-art Windows XP Professional computer Special Facilities animation lab, and a 16-station closed-loop color-calibrated digital Anderson Hall is a nine-story visual arts facility that houses a spa- imaging computer lab. Media Arts also houses two animation cious gallery, studios, classrooms, and a library designed with a shooting studios, a specially built and acoustically isolated film feeling of openness. Through the combination of Anderson Hall, shooting studio, two fully equipped digital sound studios, five Dorrance Hamilton Hall, and the Terra Building, the University pro- flatbed film editors, as well as video editing, a Casablanca editing vides a wealth of modern studios, shops, labs, equipment, galleries, system, splicers, synchronizers, and projectors. and libraries to support the making of art. Other Media Arts facilities include state-of-the-art high-ventila- The variety of studios and equipment is extensive, ranging from tion darkrooms with 55 4x5 enlargers, a black-and-white RC print woodworking and metal shops, printmaking and computerized type- processor, a color darkroom with 14 individual stations and a 32ll setting shops, to fine arts, crafts and design studios, and photo, film, RA-four color print processor, and four photography shooting stu- and digital imaging labs. Four large kilns enhance ceramic-making dios with all the essential equipment for studio photography. capabilities and a forge has been built for sculpture. A large weaving The Media Arts Equipment Room serves student needs by shop is complete with dozens of looms and a dyeing room. A 19th checking out animation, film, and photography equipment, century carriage house was converted into a skylit figure-modeling including lights, cameras, tripods, animation discs, and sound equip- studio for sculpture students. ment. The Equipment Room is open seven days a week and offers extended hours on weekdays. Digital Technology/Electronic Media Advances in digital technologies have established the computer as Digital Imaging Lab an essential tool for creative work. Artists, designers, and performers The Media Arts Department Digital imaging Lab is a unique will increasingly be responsible for the development of new digital facility built to support high-resolution digital imaging and digital media. These advances are creating a wealth of job opportunities for video. The lab has 16 Apple Macintosh G4 computers, equipped individuals with creative talent that is unparalleled in the history of with one gb of RAM, dual high-capacity hard drives, dual 21-inch the arts. Color Calibrated Apple Studio Display monitors for each cpu, Ultra Since 1981, The University of the Arts has been a leader in the SCSI cards, DVD-RAM, and FireWire CD-RW drives. Each station field of computer-mediated art and design education in the Northeast has an Epson 2450 FireWire flatbed scanner, and an Wacom Intuos region. The University has carefully integrated new media technolo- 9x12 tablet. There are a number of Polaroid and Minolta Film gies into traditional fields of study within art and design disciplines. Scanners, and an Agfa T2500 Digital Pre-Press scanner. For output,

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 29 there are a number of devices including a Tektronix Phaser 780 deck, Technicx Turntable, Magnasync 16 mm magnetic film color laser printer, a Fuji Pictrography 3500 Digital Printer, a Xante recorder, Nagra 4.2 tape deck, two Sony UMatic 3/4-inch video Tabloid Laser Printer, a Polaroid Pro-Palette 8045 8K film recorder, decks, and a Tascam Patch Bay. and a Hewlett Packard 5000PS wide-format digital inkjet printer, with both dye- and pigment-based inks. The lab also has two Pro- Borowsky Center for Publication Arts Tools XP systems, 17 Panasonic DV1000 digital video decks and a The Borowsky Center for Publication Arts is both a unique educa- Sony DSR-40 digital video deck. The lab is managed by an Apple tional arm of the University and a printing facility that provides OS X server, with more than one terrabyte of storage to facilitate the students, staff, faculty, and visiting artists a resource to explore the requirements of a modern digital workflow. The lab is available to creative potential inherent in the offset lithographic printing students majoring in a Media Arts program, or enrolled in specifi- medium. The Center enables qualified users to experience the com- cally designated Media Arts courses. plete graphic arts process from initial conceptualization through production, while maintaining the highest printing standards. The Computer Animation Lab Center is equipped with state-of-the-art equipment, including a The Media Arts Department Computer Animation Lab is a lab Heidelberg Kors 19ll x 25ll offset press, a Dos flatbed horizontal designed solely for computer animation. It features 16 IBM Dual camera, a darkroom for shooting and developing negatives, and Intel XEON processor workstations running Windows XP platemaking and stripping facilities. Staffed with two master printers Professional, with SoftImage XSI 3.0, Maya for 3-D animation, and and student assistants, the Borowsky Center produces a wide variety Adobe Premiere, After Effects, Illustrator, and Photoshop for 2-D of printed material including posters, catalogs, brochures, announce- work. Digital Audio is handled by Sound Forge and Pro-Tools, and ments, and limited edition prints. The Center’s Fact Sheet, which there is also a Macintosh OS X system for FireWire output to the includes all procedures for project submittal, is available in the CAD Sony DSR-40 Digital Video Deck. Each system is designed specifi- Dean’s office. cally for animation, and has a Wacom Tablet, a dedicated FireWire scanner, CD-RW drives, and a DVD and RW drive. Digital output is handled by three DPS Perception systems, a Sony Beta deck, a Panasonic SVHS deck, a Sony Digital Video Deck, and a DVD burner. The lab also has a Tektronix Phaser 780 color laser printer for output of animation stills. The lab is managed by a dedicated IBM Fibre Channel server running Windows 2003. Digital Audio Sound Studios The Media Arts Department houses two state-of-the-art Digital Audio Sound Studios. They are based around two Pro-Tools 24 Mix- TDM systems, each with a Mackie 16x8x2 Mixing Console, a Tascam 234 4-track Cassette Recorder, a Tascam 122 Stereo Cassette recorder, two Neutrik 48 pt. patch bays, a Yamaha SPX900 Sound Processor, an Apple Macintosh G4 with a 17-inch monitor, DVD-RAM, FireWire CD-RW Drive, Tascam DA60 DAT recorder, and a USD Sync Controller. Both rooms can record from the Film Studio, or an Isolation Booth with microphones, foldback, and direct instrument connection. The facilities also inclde three AVID Express Deluxe (v.5.7) suites running Windows 2000 Professional on Compaq W8000 2.8ghz, 512 RAM Computer Systems with Dual Stream Uncompressed video, Meridien III Board Set, Son Beta UVW01800 video deck, JVC BR-5800 SVHS video deck, mackie mixer, and dual 21-inch Sony Trinitron Monitors, complemented by three Final Cut Pro video editing Workstations. Twi Apple XServe Dual Processor sys- tems, one Dual Processor Apple G4 system. Each suite includes DigiDesign ProTools 001 software and Hardware, Sony DSR 11 DV Decks, and 20-inch flat panel displays. Media Arts Department Dub Room The Media Arts Dub Room allows conversion of audio and video media to differing formats. The following components are supported through track-mounted patch bays for dupes of conversion. Sony Beta UVW-1800 video deck, JVC BR-5800 SVHS video deck, Mackie 12 channel mixer, Elmo TRV-16 Film Transfer unit, Otari 1/4-inch half-track studio editing deck, Tascam 122 Stereo Cassette Deck, Yamaha DVD Player, Panasonic AGW3 Multi-Sandard VHS deck, Tascam DA60 Studio DAT recordcer, Tascam MD1 Minidisk

30 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 requirements. Students may request a degree audit from the Office Undergraduate Programs of the Registrar at any time. Transcript copies of student records are supplied on request to All freshman students enter the 18-credit Foundation core pro- faculty advisors by the Registrar following the recording of grades gram that includes courses in drawing, two-dimensional design, each semester. three-dimensional design, and time-motion studies. The Foundation program introduces the basic language and processes of the visual Credit Distribution arts and prepares the students for entry into a major department. The student is ultimately responsible for completion of all course Through freshman elective course offerings, students are introduced requirements for the degree program in which he/she is enrolled. to major course options and opportunities offered by the College of The College requires a minimum of 123 credits for graduation (126 Art and Design. for the BS in Industrial Design). A student carrying an average of In the sophomore year, students select a major from one of the 15.5 credits per semester would be making normal academic following departments: progress toward graduation. Crafts: (Ceramics, Fibers, Metals, Wood) The general credit structure for the BFA is as follows: Fine Arts: Painting and Drawing, Printmaking/Book Arts, Sculpture Courses Credits Graphic Design Foundation 18 Illustration Major department credits 42 Industrial Design Studio Elective 21 Media Arts: Animation, Film/Digital Video, Photography Liberal Arts 42 The major program is augmented by required and elective courses in other departments in CAD, CPA, and CMAC to encourage an Total credits 123 awareness of the productive interaction that can occur between the many disciplines available at the University. Alternative career Studio Electives opportunities are often developed by students stimulated by courses ¥ Major studio departments may require up to six credits in outside their major. another studio major, and/or Liberal Arts. The college currently offers three concentrations and seven minor ¥ Students may elect to replace up to six studio elective credits programs that can augment or complement the student’s major with Liberal Arts courses. course of study. ¥ Students are required to take at least nine credits of studio elec- Many departments offer internships and practicums to study off- tive courses outside of their major program. campus during the junior and senior years. Frequent field trips to ¥ Elective studio credits may be completed in any department at museums, galleries, artists’ studios, and design studios in the College of Art and Design, the College of Performing Arts, or Philadelphia, New York, and Washington, D.C., supplement their the College of Media and Communication. regular work in studios and workshops. Major Program Requirements Academic Advising The professional orientation and preparation of the College of Art Academic advising at the University is designed to provide max- and Design’s undergraduate major degree programs require students imum information and assistance to students from the time they to achieve beyond the University’s minimum academic standards. enter the Foundation program in their freshman year until they com- Students must achieve a grade of “C” or better in all College of plete their final semester as seniors. Art and Design major course requirements and any required courses In the Foundation year, each student is assigned to a Foundation in other departments, including a discipline history if applicable. section with its own advisor. Each student is required to meet with Students who receive a grade of “C-” or lower in a required the advisor at least once each semester and is encouraged to seek out major course must repeat the course. The degree requirement for the advisor as soon as any difficulties begin to occur. that student will be increased by the number of credits that must At the end of the Foundation year, when the student selects and be repeated. enters one of the major departments, the student is assigned to a fac- Students who receive “C-” or lower grades in major courses are ulty member who teaches in that department. This faculty member required to schedule an appointment with the chair of their depart- serves as that student’s advisor for the next three years. Each student ment during the first week of classes of the semester immediately meets with his or her advisor at least once a semester to discuss the following the semester in which the “C-” or lower grade was student’s academic program. received. After advising with the chair, students must adjust their In addition, there are two formalized advising sessions: schedule accordingly during the Drop/Add period. 1. Second semester, freshman year: When students enter a major A student who receives more than one grade of “C-” or lower in department, the advisor meets in small groups (four to five students) required major courses in a given semester will be reviewed by the to orient them to collegiate and departmental academic requirements Academic Review Committee and placed on academic censure, even and standards, departmental expectations, elective options and if the student’s GPA is above 2.0. opportunities, program strategies, two-year planning, and office An excessive number of grades of “C-” or lower in major course- hours; work may result in dismissal. Students who are unable to achieve 2. Second semester, junior year: Individual meetings to review minimum grades in major coursework are advised to speak with progress, plan final year (both semesters), and review graduation their advisor and consider transferring to another major.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 31 The Art Therapy and Education concentrations are special courses PR 201 Relief Monotype or 3.0 credits of study that are offered in conjunction with the studio major pro- PR 204 Screenprinting - Etching grams. Interested students should refer to the program requirements PR 307 Book Arts: Concept and Structure 3.0 of those concentrations. PR 326 Introduction to Offset Lithography 3.0 Every student must have the approval of his or her department to PR 425 Book Production 3.0 proceed to the next level of coursework. Advising is a shared respon- PR 223 Bookbinding Methods 1.5 sibility between the department and the student. Each must remain PR 224 Book Arts Structures 1.5 informed about the student’s progress toward graduation. Finally, the student’s petition to graduate must be approved by the department Figurative Illustration Minor, Illustration Department advisor or chairperson in consultation with his/her faculty. The focus of this minor is on work with the figure in space. Old master and traditional drawing and painting techniques are demon- CAD Minors/Concentrations strated and utilized as the student concentrates on the development The College of Art and Design offers minors and concentrations of skills related to figurative drawing and painting. Illustration that enable a student to focus on a specific discipline through organ- majors may not declare a Figurative Illustration minor. ized 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 in IL 200 B Pictorial Foundation 3.0 the same subject. Minors must be taken in a program other than the IL 202 A Figure Anatomy 3.0 major. IL 202 B Figure Anatomy 3.0 2. Courses applied to the minor or concentration may not be used IL 303 Figure Utilization 3.0 for the major, but students may include this coursework as part of their studio elective degree requirement. Film/Digital Video Minor, Media Arts Department 3. All minors require a minimum of 15 credits, which are defined This minor provides training in film and video technology. by the department; generally, no substitution is allowed. Students work on their own as well as in teams with other students. 4. Students must declare their intent to complete a minor or con- Animation and Film/Digital Video majors may not declare a centration by filing the Minor Declaration Form in the Office of the Film/Digital Video minor. Registrar. This form must be signed by the student’s major and minor advisors. Once a minor or concentration is on file in the PF 210 A Introduction to Film I 3.0 credits Registrar’s Office, any changes must be discussed with the faculty PF 210 B Introduction to Film/Digital Video 3.0 advisor. PF 310 A Junior Cinema Production I 3.0 5. A student pursuing a minor or concentration may be required to PF 320 Sinc-Sound for Narrative Film 3.0 complete more than the minimum number of credits required for PF 322 Experiments in graduation. Advanced Digital Video 3.0 6. Minors and concentrations are available only to undergraduate students. Narrative Video, Media Arts Department 7. Students wishing to pursue a minor or concentration must meet The minor in Narrative Video explores digital video as a medium eligibility requirements, which may include satisfactory completion for storytelling. It introduces students to various aspects of video of foundation courses, prerequisites, and departmental portfolio production, including script writing, storyboarding, editing, sound review. design, directing, and producing. Students develop their skills as they advance from scene exercises through a short film to a final Animation Minor, Media Arts Department year-long project. This minor is open to all UArts majors, except This minor concentrates on the development of drawing skills that those in Film/Digital Video. As this minor is co-hosted by the embrace a sense of timing and movement. The program also College of Media and Communications, CMAC students should includes instruction in the basics of film and video technology. refer to the CMAC section of this catalog for additional regulations Film/Digital Video and Animation majors may not declare an regarding this minor. Animation Drawing minor. One of the following: PF 210 A Introduction to Film I 3.0 credits WM 219 Writing for Film 3.0 credits PF 212 A Introduction to Animation I 3.0 CM 295 Narrative Video PF 212 B Introduction to Animation II 3.0 Production Workshop 3.0 PF 312 A Junior Animation Workshop I 3.0 PF 410 A Senior Cinema Production I 3.0 PF 312 B Junior Animation Workshop II 3.0 PF 410 B Senior Cinema Production II 3.0 One of the following: Book Arts Minor, Fine Arts Department CM 120 Sound Communication 3.0 This minor emphasizes the development of skills related to PF 320 Sync-Sound for designing and creating books, incorporating both type and imagery. Narrative Film 3.0 Instruction in image-making in multiples through printmaking processes, basic typesetting techniques, and introductory book- binding methods are studied. Fine Arts-Printmaking majors may not declare a Book Arts minor.

32 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Photography Minor, Media Arts Department Digital Fine Arts Concentration, Electronic Media The Photography minor stresses a fine-art approach to photog- Department raphy. It provides the basics of black-and-white as well as color This concentration is designed for students grounded in tradi- photography and digital imaging. The emphasis is placed on gaining tional two- and three-dimensional art and design principles who experience in a wide range of pictorial photographic applications. wish to incorporate digital tools and technology to create highly per- Once a student has mastered basic photographic technique, materials sonalized artistic statements. While conceptually and procedurally and processes that are used to manipulate photographic imagery are digitally based, the digital fine arts concentration provides for phys- explored. Creativity and personal expression are emphasized in all ical output in two-, three- and four-dimensional realms as well as of these courses. Photography majors may not declare a combined formats. Working closely with advisors, the student Photography minor. selects 15 credits from categories I and II, with a six credit minimum in each category. PF 211 A Introduction to Photography I or 3.0 credits PF 209 Photography for Illustrators I. Imaging, Interactivity and Sound Options: PF 211 B Introduction to Photography II 3.0 EM 210 Digital Multimedia 3.0 credits PF 217 Color Concepts 3.0 PF 216 Computer Animation 3.0 PF 311 A Junior Photography Workshop 3.0 PF 315 Digital Photo Workshop 3.0 PF 315 Digital Photography Workshop 3.0 MU 149 A Aural Concepts 3.0 MU 415 A Introduction to MIDI 3.0 Studio Photography Minor, Media Arts Department PF 218 Creative Sound 3.0 This minor is designed to give the student mastery of the full range of camera formats from a 35mm small format up to a 4x5 II. Digital Expression and Output Alternatives: studio view camera. Technical training covers electronic strobe and PR 412 Advanced Printmaking Media: tungsten studio lighting, as well as color transparency film and con- Digital Applications 3.0 credits ventional black-and-white, and color photographic print materials PR 425 Book Production 3.0 and techniques. Advanced-level classes concentrate on design and PF 322 Media Technology 3.0 creative approaches to staged and directed shooting. Photography ID 425 Advanced Computer-Aided Design 1.5 majors may not declare a Studio Photography minor. Art Education Pre-Certification Concentration, Art GD 310 Photographics or Education Department PF 315 Digital Photography Workshop or This concentration is designed to be taken in conjunction with a PF 211 B Photography II 3.0 credits regular studio major in the CAD BFA program. In addition to PF 211 A Introduction to Photography or 3.0 meeting the requirements of a major studio department, students PF 209 Photography for Illustrators take courses in the Art Education Department, plus prescribed PF 217 Color Concepts 3.0 courses in liberal arts, photography, electronic media, and other PF 313 A Basic Photography Studio I 3.0 studio areas. Please see the Art Education program description for PF 313 B Basic Photography Studio II 3.0 additional information, requirements, and regulations.

Typography Minor, Graphic Design Department Art Therapy Concentration, Art Education/Art Therapy The student learns the basic visual grammar of typography, incor- Department porating this knowledge into information-based interpretations. While enrolled in one of the BFA programs in CAD, students may Intermediate studies are concerned with the informational and edito- also elect this concentration, which introduces them to the discipline rial uses of typography, as well as multi-page formats. The advanced of art therapy on the undergraduate level. Students take four desig- level develops a sophisticated expertise in solving complex mes- nated courses in psychology and behavioral science, which can also sages through typographic expression. Graphic Design majors may count toward the liberal arts requirements of their BFA program, and not declare a Typography minor. 15 credits of art therapy courses, which are considered as studio electives. Please see the Art Therapy program description for addi- GD 212 Typography Fundamentals 3.0 credits tional information, requirements, and regulations. EM 201 Electronic Media/Production I 1.5 * EM 202 Electronic Media/Production II 1.5 ** Internships GD 306 A Typography Emphasis 3.0 * Crafts, Fine Arts, Media Arts, Illustration, and Design sponsor an GD 306 B Typography Emphasis 3.0 ** internship course open to all CAD students regardless of their GD 426 Advanced Typography 3.0 majors. Internships are voluntary and valuable. They reinforce and expand classroom theory and practice and allow the student to test * It is recommended that these two courses be taken concurrently, possible career choices and get a feel for the workplace. Students when possible. applying for an internship must meet the following eligibility ** It is recommended that these two courses be taken concur- requirements: junior or senior level in a BS or BFA program, a 2.5 rently, when possible. cumulative grade-point average and be registered for no more than 18 credits, including those from the Internship during the semester. No more than six Internship credits may be credited toward a BS or BFA degree.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 33 Each participating department has an Internship Faculty Advisor Association of Independent Colleges of Art who is responsible for coordinating the internships, placing students and Design (AICAD) Mobility Program with workplace sponsors, advising students on course requirements, The College of Art and Design at The University of the Arts is a and deciding on the final pass/fail grades. member of the Association of Independent Colleges of Art and Students who are interested in pursuing an internship may obtain Design (AICAD). Students in good standing may spend a semester Internship information from their faculty advisor, the Career (with a possible extension to two semesters on a space-available Services Office, or the Dean’s Office in CAD. Students sign up for basis) as a guest at another member institution. Students remain internships during the registration process. The internship course is matriculated at The University of the Arts, and with their advisor’s graded on a pass/fail basis and carries three academic credits. prior approval will receive full credit for work done at one of the following cooperating institutions: Foreign and Summer Study Programs Art Academy of Cincinnati Foreign and summer studies are available through a number of Art Institute of Boston programs hosted by other institutions. Interested students should Art Institute of Southern California meet with the chair of their major department to discuss the appro- Atlanta College of Art priate program, timing, and feasibility of off-campus study. Those California College of Arts and Crafts who choose to participate should contact the Registrar and Financial California Institute of the Arts Aid Office for advising on transfer of credit and financing. College for Creative Studies Cleveland Institute of Art Vermont Studio Center, Vermont Columbus College of Art and Design The University of the Arts is the accrediting institution for the Cooper Union School of Art Vermont Studio Center and our students receive a discount on Corcoran School of Art tuition charges. Interested students should contact the Office of the Kansas City Art Institute Dean for advising and the Office of Continuing Studies for registra- Lyme Academy of Fine Arts tion procedures. Maine College of Art Maryland Institute, College of Art Cooperative Program with Massachusetts College of Art Memphis College of Art Philadelphia University Milwaukee Institute of Art and Design An agreement between The University of the Arts and Minneapolis College of Art and Design Philadelphia University (formerly Philadelphia College of Textiles Montserrat College of Art and Science) permits a limited number of students in each institu- Moore College of Art and Design tion to register for a maximum of three undergraduate credits per Oregon College of Art and Craft semester at the sister institution without the payment of additional Otis College of Art and Design tuition. Pacific Northwest College of Art Students are limited to a total of six undergraduate exchange Parsons School of Design credits during their four-year enrollment at the home institution. Pennsylvania Academy of the Fine Arts Registration is available on a selective basis for qualified students Rhode Island School of Design and is restricted to courses not offered at the home institution. Ringling School of Art and Design Interested students should contact the Office of the Registrar at San Francisco Art Institute 215-717-6420 for additional information and registration materials. School of the Art Institute of Chicago School of the Museum of Fine Arts, Student Exchange Boston Students in good standing from other institutions may attend the College for either one or two semesters on a full-time basis. To be AICAD International Affiliates eligible, a student must have completed the freshman year at the Alberta College of Art and Design home institution and receive approval from the department chair of Burren College of Art the major department in the College of Art and Design. In addition, Emily Carr Institute of Art and Design the student must provide a letter from the dean of the home college Nova Scotia College of Art and Design granting permission to take courses at The University of the Arts Ontario College of Art and Design and agreeing to accept those credits for credit at the student’s own institution. All University expenses are the responsibility of the stu- Students apply through their home institutions, which are respon- dent. Inquiries should be addressed to the Office of the Dean at sible for the selection of participants. For further information, 215-717-6120. contact the Office of the Dean, 215-717-6120.

34 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Midyear Admission The full-time freshman student is typi- Foundation In addition to the typical September start cally scheduled for 16.5 credits each Program date, students may also enter midyear and semester, usually as follows: begin the Foundation Program in January. The department schedules first-semester Foundation Credits Diane Pepe core courses during the spring semester, and Fall * [email protected] a seven-week, nine-credit, intensive second Michael Rossman semester between mid-May and the end of FP 110 Drawing 3.0 [email protected] June. Midyear admits who successfully FP 120 2-D Design 3.0 Co-Chairpersons complete the two-semester Foundation FP 130 3-D Design 3.0 215-717-6210 Program between January and June can Electives 1.5 enter their major program of study in the The Foundation program in the College of HU 110 A First Year Writing I 3.0 fall of the same calendar year in which they HU 103 A Intro. to Modernism I 3.0 Art and Design provides incoming freshmen entered the program. with a year devoted to a basic understanding Fall Total 16.5 of principles and concepts in the visual arts. Facilities Spring ** During the first semester, each student is a In addition to the numerous multipurpose Choose any three courses:*** member of a Foundation section and takes studios used by Foundation students for FP 111 Drawing 3.0 three co-requisite courses: Two-Dimensional their regular class activities, the Foundation FP 121 2-D Design 3.0 Design, Three-Dimensional Design, and program provides other facilities to support FP 131 3-D Design 3.0 Drawing. During the second semester, stu- and enrich studio projects. FP 140 Time and Motion 3.0 dents select a minimum of nine credits The Foundation Department has a Mac- (three co-requisite courses) from the four Electives 1.5 based digital media lab and a compliment of courses offered by Foundation: Two- HU 110 B First Year Writing II 3.0 analog and digital video cameras. This Dimensional Design, Three-Dimensional facility is used by all classes and can be HU 103 B Intro. to Modernism II 3.0 Design, Drawing, and Time and Motion. accessed by students to execute projects in Spring Total 16.5 Each class meets for three hours, twice a Two-Dimensional Design, Three- week. Freshman Year Total 33.0 Dimensional Design, and Time Motion. Each section of students is taught by a The Foundation Shop is used for all team of faculty members who are profes- Three-Dimensional Design, and Time and * Students entering the Foundation pro- sionals in their various fields of art and Motion classes, and provides all Foundation gram through Midyear Admission will design; many hold the ranks of Professor students with the opportunity to work with a enroll in these courses for the spring and Associate Professor. In Foundation diversity of materials such as wood, metal, semester. courses, faculty members stress not only the plastic, and stone. The Foundation Shop ** Students entering the Foundation pro- independent qualities of a discipline, but houses a wide range of power equipment, gram through Midyear Admission will also its interdependent character. Through including band saws, scroll saws, sanders, enroll in these courses for the Summer I these basic studies and their interactions, table saws, chop saws and other power semester. students discover the underlying values and tools. The Shop is monitored by a full-time *** Under certain circumstances, stu- principles important to all visual arts. Shop Supervisor and is open from 8 a.m. to dents may take all four second-semester Classroom work is enriched by home 4 p.m. Monday through Friday. Foundation courses. assignments, critiques and reviews, guest The Nature Lab (the Visual Resource artists, films, slides, and class trips. One fac- Center) contains an extensive selection of ulty member from each section’s team is natural and man-made objects that serve as designated as the advisor to that section. sources for research that enhances and com- Students meet individually with the advisor plements the educational experience. The to discuss concerns, the registration process, Nature Lab is used frequently by all and their choice of major. Drawing classes. It is also well utilized by The student chooses an additional course Three-Dimensional and Two-Dimensional offered by the major studio departments Design classes. Some of the many objects in each semester. These elective courses are our collection include rocks, minerals, designed to acquaint the student with the animal skeletons such as birds, cats, and tur- practices of the major studio areas. Students tles, human skeletons and skulls, plant also register for two Liberal Arts courses in forms, seashells, sea horses, coral, horse- each semester, as required by the University shoe crabs, taxidermy reptiles, bats, frogs, core. and more. Students are invited to use the Nature Lab in addition to their scheduled class time.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 35 Foundation Faculty Steven Jaffe Associate Professor David V. Berger BFA, Philadelphia College of Art Senior Lecturer MFA, Tyler School of Art, BFA, The University of the Arts Temple University MFA, Pennsylvania Academy of the Fine Arts Elsa Johnson Professor Lowell Boston BFA, Cooper Union Adjunct Assistant Professor MFA, University of Pennsylvania BFA, The University of the Arts MFA, California Institute of the Arts Niles Lewandowski Associate Professor Bill Brown BFA, Maryland Institute College of Art Senior Lecturer MFA, University of Pennsylvania BA,Temple University MFA, Washington University David Love Senior Lecturer Mark Campbell BFA, Columbus College of Art & Design Associate Professor MFA, Pennsylvania State University BFA, Philadelphia College of Art MFA, Mills College Larry Mitnick Associate Professor Charles Cooper BArch, Cooper Union Senior Lecturer MArch, Harvard University BFA, Philadelphia College of Art MFA, Yale University Diane Pepe Adjunct Associate Professor Maddy Gold BFA, Carnegie Mellon University Senior Lecturer MFA, University of New Mexico BFA, Philadelphia College of Art MFA, Pratt Institute Boris Putterman Associate Professor Eileen Goodman Diploma, Cooper Union School of Art Adjunct Professor BFA, Philadelphia College of Art BFA, Philadelphia College of Art MFA, Indiana University MFA, Tyler School of Art, Temple University Leo Robinson Master Lecturer Michael Grothusen BA,Howard University Assistant Professor MFA, Cranbrook Academy of Art BFA, University of Kansas MFA, Tyler School of Art, Michael Rossman Temple University Professor BID, MFA, Pratt Institute Gerald Herdman Associate Professor Karen Saler Certificate, Cleveland Institute of Art Associate Professor MFA, University of Pennsylvania BFA, Philadelphia College of Art MFA, Maryland Institute College of Art Debra Hoffman Lecturer Foundation Professors BFA, Pennsylvania Academy of the Emeritus Fine Arts MFA, Milton Avery Graduate School, Edna Andrade Bard College Robert McGovern Richard Stetser

36 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Crafts Faculty Rod McCormick Crafts Professor Sharon Church BFA, Tyler School of Art, James Makins Professor Temple University [email protected] BS, Skidmore College MFA, Rhode Island School of Design Chairperson MFA, School for American Craftsmen, 215-717-6100 Rochester Institute of Technology Pam Pawl Lecturer The Crafts Department seeks to develop Maegan Crowley BS, Philadelphia College of Textiles artists of originality and resourcefulness Lecturer and Science who can excel in the most competitive pro- BFA, The University of the Arts fessional environment. Studio experience is MFA, Cranbrook Academy of Art Judith Schaechter provided in four major craft areas: ceramics, Adjunct Professor fibers, metals, and wood. There are also William Daley BFA, Rhode Island School of Design offerings in glass and plaster to complement Professor Emeritus the curriculum. BA, Massachusetts College of Art Anne Schaefer Each crafts area offers a balanced con- MA, Columbia Teachers College Lecturer centration in both the technical and BFA, Washington University aesthetic aspects of the medium. While Christopher Darway practical training and specialized skills are Senior Lecturer Warren Seelig necessary for creative ability, the conceptual BFA, Philadelphia College of Art Distinguished Visiting Professor and expressive evolution of each student is BS, Philadelphia College of Textiles the essential focus of the department. An Larry Donahue and Science ongoing study of the contemporary crafts Adjunct Associate Professor MFA, Cranbrook Academy of Art movement is seen as an integral element for BFA, Philadelphia College of Art those involved in the program. The range of MA, The University of the Arts Patricia Siembora faculty in each area provides the student Lecturer with exposure to a diversity of professional Rachel Fuld BFA, MAT, The University of the Arts perspective and experience. Lecturer Through an incisive and rigorous cur- BA,Oberlin College Lola Brooks Spier riculum, the department prepares students Lecturer for professional involvement in their craft. Alec Karros BFA, State University of New York Upon graduation, students elect to Visiting Assistant Professor at New Paltz become independent artists, teachers, or BFA, Philadelphia College of Art designers, or find employment in industry. MFA, Rhode Island School of Design Lizbeth Stewart Individuals often combine these occupa- Associate Professor tions in order to meet their individual needs Lucartha Kohler BFA, Moore College of Art and goals. Senior Lecturer Moore College of Art Roy Superior Carnegie Mellon University Professor BFA, Pratt Institute Jack Larimore MFA, Yale University Adjunct Associate Professor BS, Michigan State University Walter Zimmerman Assistant Professor Mi-Kyoung Lee BA, Pennsylvania State University Assistant Professor Certification in Art Therapy BFA, Dong-A University, Pusan, Korea MFA, Rochester Institute of Technology MFA, The University of the Arts MFA, Cranbrook Academy of Art

James Makins Professor BFA, Philadelphia College of Art MFA, Cranbrook Academy of Art

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 37 Crafts Media-Specific Course Bachelor of Fine Arts 123 credits Offerings:

CR 211 A/B Introduction to Throwing Foundation Credits Junior Credits CR 212 A/B Introduction to Handbuilding Fall Fall CR 221 A Introduction to Fibers CR300 A Projects II 3.0 FP 110 Drawing 3.0 and Mixed Media CR XXX Media-Specific Course 3.0 FP 120 2-D Design 3.0 CR 221 B Introduction to Color and the Loom CR XXX Media-Specific Course 3.0 FP 130 3-D Design 3.0 CR 222 Constructed Surface (300 level/advanced) CR 227 Experimental Costume Design Electives 1.5 Electives 3.0 CR 231 A/B Introduction to Glassblowing HU 110 A First Year Writing I 3.0 HU 253 History of Crafts 3.0 HU 103 A Intro. to Modernism I 3.0 CR 232 Stained Glass Fall Total 15.0 Fall Total 16.5 CR 241 A Body Adornment Spring CR 241 B Introduction to Jewelry Spring CR300 B Projects II 3.0 CR 242 Introduction to Metalsmithing Choose any three courses: CR XXX Media-Specific Course 3.0 CR 243 Jewelry Rendering and Design FP 111 Drawing 3.0 (300 level/advanced) CR 245 Art for the Body FP 121 2-D Design 3.0 Electives 3.0 CR 249 Enameling FP 131 3-D Design 3.0 HU XXX Liberal Arts 6.0 CR 251 Introduction to Molding and Casting FP 140 Time and Motion 3.0 Spring Total 15.0 CR 252 Plaster Workshop Electives 1.5 CR 253 Ceramic Technology Junior Year Total 30.0 HU 110 B First Year Writing II 3.0 CR 255 Large-Scale Handbuilding HU 103 B Intro. to Modernism II 3.0 Senior CR 256 Ceramics CR 261 Introduction to Wood Spring Total 16.5 Fall CR 277 Fabric Resists and Embellishment CR400 A Projects III 3.0 Freshman Year Total 33.0 CR 278 Fabric Printing CR XXX Media-Specific Course 3.0 CR 280 Introduction to Metal Casting Sophomore (300 level/advanced) CR 281 Introduction to Electroforming Electives 3.0 Fall CR 282 Metal Furniture HU XXX Liberal Arts 6.0 CR200 A Projects I 3.0 CR 283 Small-Scale Steelworking CR XXX Media-Specific Course 3.0 Fall Total 15.0 CR 285 Introduction to Furniture CR XXX Media-Specific Course 3.0 Spring CR 286 Wood Carving HU 140 A Art History Survey I 3.0 CR400 B Projects III 3.0 CR 287 Low-Tech Furniture HU XXX Liberal Arts 3.0 CR XXX Media-Specific Course 3.0 CR 299 Selected Topics Fall Total 15.0 (300 level/advanced) CR 322 A/B Advanced Fibers Mixed Media Spring Electives 6.0 CR 329 Advanced Textile Design CR200 B Projects I 3.0 HU XXX Liberal Arts 3.0 CR 331 Advanced Glassblowing CR XXX Media-Specific Course 3.0 Spring Total 15.0 CR 332 Advanced Fusing and Stained Glass Electives 3.0 CR 370 A/B Advanced Throwing Senior Year Total: 30.0 HU140 B Art History Survey II 3.0 CR 371 A/B Advanced Ceramics HU XXX Liberal Arts 3.0 CR 380 A/B Advanced Jewelry/Metals Spring Total 15.0 CR 381 A/B Advanced Metals Electives must include at least nine studio credits CR 385 A/B Advanced Furniture Sophomore Year Total 30.0 outside of the Crafts offerings. CR 386 Advanced Wood CR 999 Independent Study Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. HU 253 History of Crafts 3 cr.

38 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Crafts Curriculum Dual Concentration Options It is possible to have a dual concentration The Crafts curriculum has been designed within the Crafts Department. If the student to give the student flexibility in his or her enters the sophomore year with an interest choice of media concentrations. Some stu- in two distinct media then, by taking the dents may enter the Crafts Department prerequisite of two courses at the 200 level knowing the specific medium in which they early on, in the sophomore and junior years, wish to concentrate. Other students may elect the student can continue at the advanced to divide their media-specific coursework level in these same two media during the between two areas of potential concentration. junior and senior years. Two three-credit Still others may want to pursue a mixed courses at the advanced level in each con- media approach to their Crafts education. All centration will fulfill the 12-credit advanced are possible, but careful attention must be level requirement. paid to meeting departmental, college, and University requirements while pursuing per- Multiple Media sonal interests. Concentration Of the 42 credits required for a Crafts It is possible to take courses during the major, 18 of these credits are devoted to the sophomore and junior years in three or more core of Project Courses. The remaining 24 media. However, this will require the credits are to be taken elsewhere in the greatest vigilance on the part of the student Crafts Department. However, it is important to meet all the requirements for graduation. to note that 12 of those credits must be at Having sampled an array of introductory the advanced (300-400) level. courses, the student must then take an addi- tional introductory course in at least one Core Studio Projects medium in order to proceed to the advanced Courses level. To meet the advanced level require- Each semester all Crafts students take ment as a multiple media student, it will be Projects, a core studio course. These courses necessary to (a) take all 12 advanced credits provide aesthetic structure and involve dis- in one medium or (b) use studio elective cussion and investigation of broader Crafts credits to take advanced level courses in issues, with critiques of the student’s work. additional media. Students then have the freedom to choose from a variety of technique-based courses, which aid in developing that aesthetic. Emphasis is placed on the interdependency of all the arts, with particular attention given to the unique contribution of Crafts ide- ology and practice. As a co-requisite for Projects, each student must be enrolled in at least one three-credit media-specific course in a major area of concentration: ceramics, fibers, jewelry, metalsmithing, and wood. These co-requisites must be at the appro- priate 200 or 300 level. Glass is currently offered as a department elective. Single Medium Concentration Students entering the department knowing the specific medium in which they wish to concentrate from sophomore through senior year take one three-credit media-specific course in that concentration each semester of the three-year journey through the department. Four media-spe- cific courses must be at the advanced level.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 39 Fine Arts Painting/Drawing Painting/Drawing Faculty Gerald Herdman Coordinator Eugene Baguskas Gerald Nichols 215-717-6495 Associate Professor [email protected] BFA, Yale University Chairperson The Painting/Drawing major provides a 215-717-6495 firm basis for students to develop a profes- Gerald Herdman sional involvement with their work. A Associate Professor The Fine Arts Department provides stu- balance is sought between the acquisition Certificate, Cleveland Institute of Art dents an opportunity to explore both the of studio skills and the development of a MFA, University of Pennsylvania common and diverse nature of the Fine Arts critical intelligence. traditions of Painting/Drawing, Students are encouraged, through the Sharon Horvath Printmaking/Book Arts, and Sculpture. On rigor of studio activity, to understand the Assistant Professor the sophomore level, students are intro- breadth of art in both its traditional and con- BFA, The Cooper Union duced to the media and concepts of all three temporary forms, and to gain increasing MFA, Tyler School of Art, disciplines. In the junior year, students authority in their own work. Temple University choose a major from one of the above studio Courses evolve from the study of basic areas to develop personal authority and working methods and concepts to the refine- Steven Jaffe commitment within the discipline. The ments of personal vision and aesthetic Associate Professor senior year is focused on advanced studio judgment. In the final semester of the senior BFA, Philadelphia College of Art practice and performance in the major. year, each student is required to complete a MFA, Tyler School of Art, Upper-level Fine Arts seminars and studio thesis project, which culminates in a formal Temple University classes are designed to foster an apprecia- presentation of a paper and an exhibition of tion of the shared purposes and goals of the a coordinated body of work. David Kettner contemporary fine artist. The faculty of practicing professional Professor In addition to the major programs, artists represents a diversity of attitudes and BFA, Cleveland Institute of Art the University offers a Digital Fine Arts ideals. Through the format of studio instruc- MFA, Indiana University concentration. See the listing of minors tion, dialogue, and critique, they seek to and concentrations for information instill in each student a habit of self-instruc- Eileen Neff on requirements. tion, which will serve far beyond the Adjunct Professor Having encountered a diversity of con- program at the University. BA,Temple University cepts, attitudes, and media, from charcoal to The Painting/Drawing Department pos- BFA, Philadelphia College of Art the computer, Fine Arts graduates find sesses its own gallery space where faculty, MFA, Tyler School of Art, career opportunities as professional, students, alumni, and invited artists have an Temple University exhibiting artists, curators and gallery per- opportunity to exhibit their work. sonnel, critics, mural and portrait painters, Studio activity is augmented by lectures, Gerald Nichols decorative artists, set designers, print- symposia, seminars, visiting artists, and Professor makers, bookbinders, paper and book field trips to museums and galleries. Diploma, Cleveland Institute of Art conservators, graphic designers, commercial MFA, University of Pennsylvania printers, mold-makers, commercial sculp- tors, cinematic prop makers, special effects Boris Putterman artists, and teachers at elementary, sec- Associate Professor ondary, and university levels. Diploma, Cooper Union School of Art BFA, Philadelphia College of Art MFA, Indiana University

40 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Painting/Drawing Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 PT 340 Color Studies 1.5 FP 120 2-D Design 3.0 FA 333 A Attitudes and Strategies 3.0 FP 130 3-D Design 3.0 PT 302 A Junior Painting 3.0 Electives 3.0 Electives 1.5 HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 Fall Total 16.5 HU 103 A Intro. to Modernism I 3.0 Spring Fall Total 16.5 PT 360 Junior Seminar 1.5 Spring PT 334 Junior Drawing 3.0 Choose any three courses: PT 302 B Junior Painting 3.0 FP 111 Drawing 3.0 HU XXX Liberal Arts 6.0 FP 121 2-D Design 3.0 FP 131 3-D Design 3.0 Spring Total 13.5 FP 140 Time and Motion 3.0 Junior Year Total 30.0 Electives 1.5 Senior HU 110 B First Year Writing II 3.0 HU 103 B Intro. to Modernism II 3.0 Fall PT 402 A Senior Painting 4.5 Spring Total 16.5 FA 424 A Drawing References 1.5 Freshman Year Total 33.0 FA 460 Senior Fine Arts Seminar 1.5 Electives 3.0 Sophomore HU XXX Liberal Arts 3.0 Fall Fall Total 13.5 PT 202 A Sophomore Painting 3.0 Spring FA 222 A Drawing: Form and Space 3.0 PT 402 B Senior Painting 6.0 Choose one course from the following three*: FA 424 B Drawing References 1.5 SC 201 Sculpture I 3.0 Electives 6.0 PR 201 Relief/Monotype 3.0 HU XXX Liberal Arts 3.0 PR 204 Screen Printing/Etching 3.0 Spring Total 16.5 HU 140 A Art History Survey I 3.0 Senior Year Total: 30.0 HU XXX Liberal Arts 3.0 Fall Total 15.0 Spring * Painting Majors must take one sculpture course and one printmaking course. These will be counted PT 202 B Sophomore Painting 3.0 as electives outside of the Painting offerings. Choose 3.0 credits from the following: Electives must include at least nine studio credits FA234 Drawing Studies and 1.5 outside the Painting offerings. FA235 Media Techniques 1.5 FA 223 Intro. to Figure Modeling* 3.0 Liberal Arts Distribution FA 205 Concepts/Works on Paper* 3.0 Note all Liberal Arts courses are 3.0 credits. Choose one course from the following three*: HU 110 A/B 3 cr. 3 cr. PR 201 Relief/Monotype 3.0 HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. PR 204 Screenprinting/Etching 3.0 Literature 3 cr. SC 202 Sculpture I 3.0 Humanities 3 cr. Social Science 3 cr. 3 cr. HU140 B Art History Survey II 3.0 Science/Math 3 cr. HU XXX Liberal Arts 3.0 Lib. Arts Electives 3 cr. 3 cr. Spring Total 15.0 Art History Elective 3 cr. Sophomore Year Total 30.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 41 Printmaking/Book Arts Facilities Nathan Knobler Lois M. Johnson The Printmaking Department provides Professor [email protected] extensive facilities for water-based screen- BFA, Syracuse University Coordinator printing, stone and plate lithography, relief, MA, Florida State University 215-717-6491 etching and non-silver photographic processes. The bookbinding room houses Hedi Kyle The Printmaking major bases its instruc- book presses, board shear, and a guillotine Adjunct Associate Professor tional program on the development and paper cutter. The letterpress studio contains Diploma, Werk-Kunstschule, Wiesbaden, realization of visual ideas through multiple three Vandercook presses for printing Germany image-making processes. The primary handset type and polymer plates with over objectives are to develop conceptual 100 fonts of varied type. The offset lithog- Peter Lister abilities and technical proficiencies, raphy press room features a Davidson 901 Senior Lecturer leading the student to acquire personal offset press used by the students for hands- Certificate, Pennsylvania Academy of imagery and professional competence in on experience. the Fine Arts printmaking media. Another important resource is the The Barnes Foundation, Philadelphia The department provides the expertise of Borowsky Center for Publication Arts, a faculty of professional artists to study tra- which is equipped with a Heidelberg KORS Mary Phelan ditional and contemporary methods. The offset press and a full darkroom for experi- Associate Professor major graphic media explored include relief mental and production printing of student, BS, The College of Saint Rose processes, etching (intaglio), lithography faculty, and visiting artist works. MA, University of Wisconsin-Madison stone, metal plate, and offset and water- Printmaking/Book Arts faculty and stu- based screenprinting, and non-silver dents have been committed to the testing Rosae Reeder photographic printmaking. Courses in book and integration of non-toxic printmaking Lecturer and typographic design stimulate experi- processes and inks in the studios since the BFA, The University at Buffalo, mentation in unifying the elements of paper, late 1970s. New York prints, typography, and bookbinding. MFA, The University of the Arts Visiting artists, field trips, and guest lec- Printmaking/Book Arts Faculty turers supplement the studio experience. Anthony Rosati Using the city as an extended workshop, Carol Barton Adjunct Associate Professor Print students attend seminars and museum Senior Lecturer BA, Rider College collections. The Print Study Seminar is held BFA, Washington University MFA, Tyler School of Art, in the Print Room at the Philadelphia Temple University Museum of Art and furnishes a unique Denise Carbone opportunity to study original prints from the Senior Lecturer Laurel Schwass-Drew 15th through the 20th centuries. BFA, Glassboro State College Lecturer The main emphasis over the three-year MFA, The University of the Arts BFA, The University of the Arts undergraduate period of study is on the evo- lution of students as artists who make Sandra Davis Patricia M. Smith individualized demands upon the media. As Lecturer Assistant Professor with any study in the fine arts, the experi- BFA, The University of the Arts BA, Immaculata College ence should be multidimensional, reflective MAEd, Philadelphia College of Art of a broad range of personal and profes- James Dupree sional involvement, and reinforced with Adjunct Assistant Professor Lori Spencer stimulation from related areas of interest, BFA, Columbus College of Art Adjunct Assistant Professor including drawing, painting, digital arts, and Design BFA, State University of New York, photography, graphic design, illustration, MFA, University of Pennsylvania Purchase sculpture, and crafts. MFA, The University of the Arts The undergraduate curriculum is enhanced James Green by the graduate program in Book Arts/ Master Lecturer Sarah Van Keuren Printmaking. This two-year course of study of BFA, Oberlin College Adjunct Professor 60 credits culminates in a Master of Fine Arts MPh, Yale University BA,Swarthmore College Degree. The program provides the opportu- MLA, Columbia University MFA, University of Delaware nity for the individual artist’s expression in limited edition bookworks. Undergraduate Lois M. Johnson students work alongside MFA candidates in Professor studios, workshops, and some major and elec- BS, University of North Dakota tive classes. (Students interested in the MFA MFA, University of Wisconsin-Madison degree in Book Arts/Printmaking should con- tact the Department of Printmaking or the Office of Admission.)

42 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Printmaking/Book Arts Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 FP 120 2-D Design 3.0 PR 300 Lithography 3.0 FP 130 3-D Design 3.0 PR 306 Print Study Seminar I 1.5 Electives 3.0 Electives 1.5 HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 Fall Total 16.5 HU 103 A Intro. to Modernism I 3.0 Spring Fall Total 16.5 PR 333 Attitudes and Strategies 3.0 Spring PR 301 Printmaking Workshop 1.5 Choose any three courses: PR 307 Book Arts: FP 111 Drawing 3.0 Concepts and Structure 3.0 FP 121 2-D Design 3.0 Electives 3.0 FP 131 3-D Design 3.0 HU XXX Liberal Arts 6.0 FP 140 Time and Motion 3.0 Spring Total 16.5 Electives 1.5 Junior Year Total 33.0 HU 110 B First Year Writing II 3.0 HU 103 B Intro. to Modernism II 3.0 Senior Spring Total 16.5 Fall Freshman Year Total 33.0 PR 400 Advanced Workshop 3.0 PR 406 Print Study Seminar II 1.5 Sophomore Electives 6.0 Fall HU XXX Liberal Arts 3.0 FA 222 A Drawing: Form and Space 3.0 Fall Total 13.5 PR 201 Relief/Monotype 3.0 Spring PT 202 Sophomore Painting 3.0 PR 420 Thesis Workshop 3.0 HU 140 A Art History Survey I 3.0 FA 460 Senior Fine Arts Seminar 1.5 HU XXX Liberal Arts 3.0 Electives 6.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Total 13.5 PR 204 Screen Printing/Etching 3.0 Senior Year Total: 27.0 SC 201 Sculpture I 3.0 Choose one course from the following three: FA 222 B Drawing: Form and Space 3.0 Electives must include at least nine studio credits outside the Printmaking/Book Arts offerings. FA 223 Intro. to Figure Modeling 3.0 FA 205 Concepts/Works on Paper 3.0 Liberal Arts Distribution HU 140 B Art History Survey II 3.0 Note all Liberal Arts courses are 3.0 credits. HU XXX Liberal Arts 3.0 HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. Spring Total 15.0 HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Sophomore Year Total 30.0 Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. Art History Elective 3 cr.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 43 Sculpture Sculpture Faculty Jeanne Jaffe [email protected] Harvey Citron Coordinator Adjunct Professor 215-717-6102 BFAEd, Pratt Institute Diploma, Academy of Fine Arts, Rome The field of sculpture today is open and wide-ranging. Sculptors now create works Laura Frazure that range from coin-sized medallic art to Senior Lecturer pieces that incorporate actual craters and BFA, The University of the Arts other natural landforms. While some sculp- tors work with traditional materials such as Jeanne Jaffe clay and stone, others incorporate light and Professor sound and video into their work. Figurative BFA, Tyler School of Art, sculpture today can be either traditional Temple University modeled forms, or robotic forms that actu- MFA, New York State College ally move. The expansive nature of of Ceramics at Alfred University sculpture provides a challenge to institu- tions that educate artists, and we take that Elsa Johnson challenge seriously. Professor The Sculpture Department’s aim is to BFA, Cooper Union provide a sound, balanced exposure to all MFA, University of Pennsylvania the formal, technical, and intellectual aspects of art, in preparation for the stu- Mashiko Nakashima dent’s continued professional growth Master Lecturer beyond the undergraduate years. To this Brooklyn Museum School of Art end, our curriculum is structured to provide formal and technical instruction, while at Steve Nocella the same time allowing for individual cre- Senior Lecturer ative development. Seminar classes in the BFA, Philadelphia College of Art junior and senior years engage the student MFA, University of Pennsylvania in discussions on sculpture theory, philos- ophy, and critical thought. Barry Parker Comprehensive facilities include fully Professor equipped wood and metal shops, a foundry, BFA, Eastern Michigan University a plaster shop and figure modeling studio, MFA, University of Massachusetts as well as an open studio for general use. Juniors and seniors have individual studios. John Phillips A full-time shop supervisor provides tech- Master Lecturer nical assistance and supervision. Faculty BA,Temple University members are all practicing professional sculptors, representing a wide variety of Jennie Shanker styles and interests. Classroom instruction is Senior Lecturer supplemented by visiting artists, gallery and BFA, Philadelphia College of Art museum visits in Philadelphia, and field MFA, Yale University trips to New York and Washington D.C. Our graduating students are recognized nationally for their creativity and diversity, and for their preparation for the next steps in their professional careers.

44 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Sculpture Bachelor of Fine Arts 123 credits

Liberal Arts Distribution Foundation Credits Junior Credits Note all Liberal Arts courses are 3.0 credits. Fall Fall HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. FP 110 Drawing 3.0 FA 333 A Attitudes and Strategies 3.0 HU 140 A/B 3 cr. 3 cr. SC 251 Theories of Structure 1.5 FP 120 2-D Design 3.0 Literature 3 cr. FP 130 3-D Design 3.0 Sculpture Elective* 1.5 Humanities 3 cr. Electives 3.0 Social Science 3 cr. 3 cr. Electives 1.5 HU XXX Liberal Arts 6.0 Science/Math 3 cr. HU 110 A First Year Writing I 3.0 Lib. Arts Electives 3 cr. 3 cr. Fall Total 15.0 HU 103 A Intro. to Modernism I 3.0 Art History Elective 3 cr. Spring Fall Total 16.5 SC 333 Attitudes and Strategies 3.0 Spring Sculpture Elective* 3.0 Choose any three courses: Electives 3.0 FP 111 Drawing 3.0 HU XXX Liberal Arts 6.0 FP 121 2-D Design 3.0 Spring Total 15.0 FP 131 3-D Design 3.0 FP 140 Time and Motion 3.0 Junior Year Total 30.0

Electives 1.5 Senior HU 110 B First Year Writing II 3.0 Fall HU 103 B Intro. to Modernism II 3.0 SC 401 Sculpture III 3.0 Spring Total 16.5 Sculpture Elective* 3.0 Freshman Year Total 33.0 Electives 6.0 HU XXX Liberal Arts 3.0 Sophomore Fall Total 15.0 Fall Spring SC 201 Sculpture I 3.0 SC 402 Sculpture III 3.0 FA 223 Intro. to Figure Modeling 3.0 FA 460 Senior Fine Arts Seminar 1.5 Choose one course from the following three: Sculpture Elective* 1.5 PT 202 A Sophomore Painting 3.0 Electives 6.0 PR 201 Relief/Monotype 3.0 HU XXX Liberal Arts 3.0 PR 204 Screen Printing/Etching 3.0 Spring Total 15.0 HU 140 A Art History Survey I 3.0 Senior Year Total 30.0 HU XXX Liberal Arts 3.0 Fall Total 15.0 Spring * Sculpture Electives SC 202 Sculpture I 3.0 Choose from: Choose one course from the following three: SC 220 A Molding and Casting PT 202 B Sophomore Painting 3.0 SC 241 Intro. to Sculpture Projects PR 201 Relief/Monotype 3.0 SC 242 Intro. to Sculpture Projects PR 204 Screen Printing/Etching 3.0 SC 260 A Structure of the Figure HU 140 B Art History Survey II 3.0 SC 260 B Structure of the Figure HU XXX Liberal Arts 3.0 SC 321 Carving Choose one course from the following three: SC 421 Metals FA 222 B Drawing: Form and Space 3.0 SC 431 A Advanced Figure Modeling FA 223 Intro. to Figure Modeling 3.0 FA 205 Concepts/Works on Paper 3.0 SC 431 B Advanced Figure Modeling Spring Total 15.0 SC 441 Advanced Projects SC 442 Advanced Projects SC 443 Projects in Figure Modeling Sophomore Year Total 30.0 Electives must include at least nine studio credits outside the Sculpture offerings.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 45 Graphic Design Faculty Peter Kery Graphic Design Master Lecturer Hans Allemann BFA, Philadelphia College of Art Debra Drodvillo Adjunct Professor [email protected] Swiss National Diploma, School of Deborah McSorley-Kery Chairperson Design, Basel, Switzerland Senior Lecturer 215-717-6225 BFA, The University of the Arts Jan Almquist Graphic designers play a key role in our Adjunct Professor Chris Myers information-based society. They give form BFA, Philadelphia College of Art Associate Professor to the interface between users and our cul- BA, University of Toledo ture of rapidly proliferating products, Laurence Bach MFA, Yale University places, processes, information, and services. Professor The Graphic Design Department, since its BFA, Philadelphia College of Art Kristie Williams beginning, has sought to give students the Certificate, Graduate Study, School of Associate Professor basis to solve problems in communication in Design, Basel, Switzerland BS, University of Cincinnati a way that merges concerns for fidelity to MFA, Yale University content, for the visual aesthetic, and for Jennifer Bernstein Certificate, Graduate Study, School of engaging the reader-viewer’s rapport. Senior Lecturer Design, Basel, Switzerland The faculty and students are engaged in a BA,Brown University collaborative process of exploring the MFA, Yale University Chris Zelinsky “New” as it emerges. For graphic design, Associate Professor the New has meant specifically the transfor- John Connolly Swiss National Diploma, School of mation of media, which affects how Senior Lecturer Design, Basel, Switzerland messages are created and transmitted, and BFA, The University of the Arts how the intersection of design, media, and MFA, Yale University culture understood. Throughout the three years of major Debra Drodvillo concentration, problems in graphic commu- Assistant Professor nication are combined with exploratory and BFA, Cooper Union experimental studies in drawing, color, pho- MFA, Yale University tography, typography, and emerging technologies. The curriculum is supple- Inge Druckrey mented by special lecture programs; Professor workshops with invited design firms; and AB, University of Basel, Basel, on-site studio seminars in selected design Switzerland offices and studios, paper and printing Swiss National Diploma, School of plants, museums and libraries, and with film Design, Basel, Switzerland and computer graphic producers. Opportunities for additional study in fine Richard Felton arts, illustration, photography, animation, Professor filmmaking, and emerging technologies are BS in Design, University of Cincinnati available. MFA, Yale University Designers work across several media and venuesÐfrom handmade images to digital Dorothy Funderwhite images, still images to time-based commu- Senior Lecturer nications, and print-oriented problems to BFA, The University of the Arts communications in cyberspace. Certificate, Graduate Study, School of With successful completion of the pro- Design, Basel, Switzerland gram, students are prepared for entry-level positions as graphic designers with design Marie Greco studios, publishers, corporations, nonprofit Senior Lecturer institutions, governmental agencies, archi- BFA, Philadelphia College of Art tects and planners, network or cable broadcasters, film and video producers, or Kenneth Hiebert advertising agencies. Professor Emeritus The faculty are practicing professionals BA, Bethel College with distinguished records of accomplish- Swiss National Diploma, School of ment, sensitive and responsive to the Design, Basel, Switzerland changes in the field of design, yet not lim- ited by its current practices.

46 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Graphic Design Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 GD 306 A Typography Emphasis 3.0 FP 120 2-D Design 3.0 EM 202 Electronic Media/ FP 130 3-D Design 3.0 Production II 1.5 GD 311 A Communications Studio 3.0 Electives 1.5 Electives 1.5 HU 110 A First Year Writing I 3.0 HU 254 History of Comm. Design 3.0 HU 103 A Intro. to Modernism I 3.0 HU XXX Liberal Arts 3.0 Fall Total 16.5 Fall Total 15.0 Spring Spring Choose any three courses: GD 306 B Typography Emphasis 3.0 FP 111 Drawing 3.0 EM 203 Digital Interactive Techniques 1.5 FP 121 2-D Design 3.0 GD 311 B Communications Studio 3.0 FP 131 3-D Design 3.0 Electives 1.5 FP 140 Time and Motion 3.0 HU XXX Liberal Arts 6.0 Electives 1.5 Spring Total 15.0 HU 110 B First Year Writing II 3.0 Junior Year Total 30.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 16.5 Senior Freshman Year Total 33.0 Fall GD 411 A Design Studio 3.0 Sophomore GD 412 A Problem-Solving 3.0 Fall Electives 3.0 GD 210 Letterform Design 3.0 HU XXX Liberal Arts 6.0 GD 211 A Descriptive Drawing 3.0 Fall Total 15.0 GD 213 A Design Systems 3.0 Spring Electives 3.0 GD 411 B Design Studio 3.0 HU 140 A Art History Survey I 3.0 GD 412 B Problem-Solving 3.0 Fall Total 15.0 Electives 3.0 Spring HU XXX Liberal Arts 6.0 GD 212 Typography Fundamentals 3.0 Spring Total 15.0 EM 201 Electronic Media/ Senior Year Total: 30.0 Production I 1.5 GD 211 B Descriptive Drawing 3.0 GD 213 B Design Systems 3.0 Electives must include nine studio credits taken Electives 1.5 outside the Graphic Design offerings. HU 140 B Art History Survey II 3.0 Spring Total 15.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. Sophomore Year Total 30.0 HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. HU 254 History of Comm. 3 cr.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 47 Illustration Faculty Earl Lewis Illustration Adjunct Associate Professor Jonathan Barkat BFA, MFA, Tyler School of Art, Mark Tocchet Senior Lecturer Temple University [email protected] BFA, The University of the Arts Chairperson William Masi 215-717-6240 Megan Berkheiser Senior Lecturer Senior Lecturer BFA, The University of the Arts Illustrators give visual substance to BFA, The University of the Arts thoughts, stories, and ideas. The Illustration MFA, School of Visual Arts Tim O’Brien Department prepares its students for entry Senior Lecturer into the fields of book and periodical pub- Jay Bevenour BFA, Paier College of Art lishing, promotion, advertising, design, and Lecturer specialty fields. BA,Tyler School of Art, Phyllis Purves-Smith Illustrators must call upon a broad range Temple University Associate Professor of traditional and up-to-date competencies BFA, Cooper Union to respond to today’s visual problems. As Brian Biggs MFA, Tyler School of Art, visual communicators, illustrators need to Assistant Professor Temple University be open-minded, eclectic, flexible, and BFA, Parsons School of Design imaginative. The illustrator’s solution David Rankin, III should be appropriate, intelligent, expres- Robert Byrd Senior Lecturer sive, and visually engaging. Senior Lecturer BFA, The University of the Arts In order to prepare for a career in this BFA, The University of the Arts competitive field, The University of the Arts Roger Roth Illustration student develops skills that Russell Farrell Senior Lecturer encompass two-dimensional media: from Senior Lecturer BFA, Pratt Institute painting and drawing to photography, BFA, The University of the Arts design, production processes, and emerging Robert Stein opportunities in digital image-making. Renee Foulks Professor Students may concentrate on a studio, a dig- Master Lecturer BFA, Massachusetts College of Art ital, or a pictorially-oriented illustration BFA, Moore College of Art MFA, Tyler School of Art, curriculum. These skills are nurtured within MFA, Tyler School of Art, Temple University a stimulating cultural climate provided by Temple University the resources of the faculty, visiting profes- Stephen Tarantal sionals, a gallery exhibition program, the Ralph Giguere Professor University, and the city at large. Each stu- Adjunct Associate Professor BFA, Cooper Union dent progresses from general competencies BFA, The University of the Arts MFA, Tyler School of Art, to a personal viewpoint, clarified career Temple University goals, a professional attitude, and a finished Linda Gist portfolio. Senior Lecturer Mark Tocchet BFA, The University of the Arts Associate Professor BFA, School of Visual Arts Al Gury Master Lecturer BA, St. Louis University

Sabin Howard Master Lecturer BFA, Philadelphia College of Art MFA, New York Academy of Art

Paul King Adjunct Associate Professor Certificate, Pennsylvania Academy of Fine Art BFA, Philadelphia College of Art MFA, Boston University

48 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Illustration Bachelor of Fine Arts 123 credits

Foundation Credits Junior Credits Fall Fall Figure, Digital or Studio Track FP 110 Drawing 3.0 IL 300 A Illustration Methods 3.0 FP 120 2-D Design 3.0 IL 301 Design Methods 3.0 FP 130 3-D Design 3.0 IL 302 Figurative Communication 3.0 Electives 3.0 Electives 1.5 HU XXX Liberal Arts 3.0 HU 110 A First Year Writing I 3.0 Fall Total 15.0 HU 103 A Intro. to Modernism I 3.0 Spring Fall Total 16.5 IL 300 B Illustration Methods 3.0 Spring IL 303 Figure Utilization 3.0 Choose any three courses: IL 304 Sequential Format* or 3.0 FP 111 Drawing 3.0 Electives FP 121 2-D Design 3.0 HU XXX Liberal Arts 6.0 FP 131 3-D Design 3.0 Spring Total 15.0 FP 140 Time and Motion 3.0 Junior Year Total: 30.0 Electives 1.5 HU 110 B First Year Writing II 3.0 Senior HU 103 B Intro. to Modernism II 3.0 Fall Figure, Digital or Studio Track Spring Total 16.5 IL 400 A Illustration 3.0 Freshman Year Total 33.0 IL 403 A Senior Portfolio 3.0 Electives 3.0 Sophomore HU XXX Liberal Arts 6.0 Fall Fall Total 15.0 IL 200 A Pictorial Foundation 3.0 Spring IL 202 A Figure Anatomy 3.0 IL 400 B Illustration 3.0 IL 204 Typography 3.0 IL 403 B Senior Portfolio 3.0 HU 140 A Art History Survey I 3.0 Electives 6.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Fall Total 15.0 Spring Total 15.0 Spring Senior Year Total 30.0 IL 200 B Pictorial Foundation 3.0 IL 202 B Figure Anatomy 3.0 PF 209 Photo. for Illustrators 3.0 HU 140 B Art History Survey II 3.0 Electives must include at least nine studio credits outside the Illustration offerings. HU XXX Liberal Arts 3.0 * Sequential Format is only required of Spring Total 15.0 Design/Studio Track Students Sophomore Year Total 30.0 Liberal Arts Distribution Note all Liberal Arts courses are 3.0 credits. HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. Art History Elective 3 cr.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 49 the final semester, the instructional focus Industrial Design Faculty Industrial Design shifts to career planning, portfolio prepara- tion, and the development of information- Michelle Barfoot Jonas Milder gathering and business communication Senior Lecturer [email protected] skills to better prepare the student to enter BA,The University of Rhode Island Chairperson the profession. MID, The University of the Arts 215-717-6250 Due to the wide scope and creative, yet practical character of an Industrial Design Rama Chorpash The Industrial Design Department pro- education, many career opportunities await Assistant Professor vides a professional education for those the graduate with consulting design firms, BSID, California College of wishing to bring order, utility, aesthetics, corporate design staffs, manufacturing facil- Arts and Crafts and appropriateness to the products, con- ities, exhibit houses, retailers, advertising/ tents, and processes of our modern global marketing agencies, research organizations, David Comberg society. The program prepares students for museums, educational institutions, and gov- Adjunct Associate Professor careers in the design of products, environ- ernment agencies, all of whom recognize BFA, Massachusetts College of Art ments, and design systems/strategies, the need to constantly improve the appear- MFA, Yale School of Art integrating the design of communications, ance, manufacture, performance, and social furniture, equipment, interfaces, and inte- value of their products. Anthony Guido riors/exhibits. Also addressed are issues of Associate Professor human factors research, computer-aided BSID, The Ohio State University design, product development, manufac- turing, business, and a host of other Jamer Hunt considerations related to the humanistic Associate Professor uses of technology. BA,Brown University Industrial Design involves considerable PhD, Rice University conceptual experimentation. An encom- passing investigation into our evolving James Janish material-product culture and contemporary Senior Lecturer social issues provides a forum in which stu- BS, State University of New York, Buffalo dents may draw from diverse sources: high MID, Pratt Institute technology, fine arts, industrial production, architectural constructions, invention, social Michael McAllister behavior, craft techniques, and contempo- Senior Lecturer rary design culture. BS, Drexel University The department emphasizes the develop- MID, The University of the Arts ment of graphic, sculptural, and spatial design skills as a complement to creative Jonas Milder problem-solving, technical innovation, and Assistant Professor effective communications during the solu- BID, Fachhochschule fuer Gestaltung, tion of actual problems of design. Germany After initial coursework to introduce Design Diploma (MID), basic design, communication, and collabo- Hochschule der Kuenste, ration processes, including computer-aided Berlin, Germany design and model-making, students develop and apply theory, skill, and knowledge to Larry Mitnick functional design problems, many brought Associate Professor into the studio by industry. Visiting BArch, Cooper Union designers also bring knowledge of current MArch, Harvard University design, manufacturing, and professional practices into studio and lecture courses, Barent Roth while visits to industry provide opportuni- Senior Lecturer ties for direct observation and firsthand BSID, University of Illinois knowledge of design and manufacturing MID, The University of the Arts processes. Based on this foundation of skill, experience, and information, emphasis in Jane Swanson the final semesters shifts to the responsi- Senior Lecturer bility for integration of the total design BS, Iowa State University process by the individual student, who works directly with a client/sponsor on a thesis project prior to graduation. During

50 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Industrial Design Bachelor of Science 126 credits

Liberal Arts Distribution Foundation Credits Junior Credits Note all Liberal Arts courses are 3.0 credits. Fall Fall HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. FP 110 Drawing 3.0 ID 300 A Studio 3: Projects Studio 3.0 HU 140 A/B 3 cr. 3 cr. ID 320 A Studio 4: Techniques 3.0 FP 120 2-D Design 3.0 Literature 3 cr. FP 130 3-D Design 3.0 ID 327 Design Semantics Seminar 3.0 Humanities 3 cr. Electives 3.0 Social Science 3 cr. 3 cr. Electives 1.5 HU XXX Liberal Arts 6.0 Science/Math 3 cr. HU 110 A First Year Writing I 3.0 Lib. Arts Electives 3 cr. 3 cr. Fall Total 18.0 HU 103 A Intro. to Modernism I 3.0 Art History Elective 3 cr. Spring Fall Total 16.5 ID 300 B Studio 3: Projects Studio 3.0 Spring ID 320 B Studio 4: Techniques 3.0 Choose any three courses: ID 326 Human Factors Seminar 3.0 FP 111 Drawing 3.0 HU XXX Liberal Arts 6.0 FP 121 2-D Design 3.0 Spring Total 15.0 FP 131 3-D Design 3.0 FP 140 Time and Motion 3.0 Junior Year Total 33.0

Electives 1.5 Senior HU 110 B First Year Writing II 3.0 Fall HU 103 B Intro. to Modernism II 3.0 ID 400 A Studio 5: Projects Studio 3.0 Spring Total 16.5 ID 420 A Studio 6: Freshman Year Total 33.0 Professional Comm. 3.0 ID 490 A Design Theory Seminar 3.0 Sophomore HU XXX Liberal Arts 6.0 Fall Fall Total 15.0 ID 200 A Studio 1: Projects 3.0 Spring ID 220 A Studio 2: Techniques 3.0 ID 400 B Studio 5: Projects Studio 3.0 ID 214 Materials and Processes Sem. 3.0 ID 420 B Studio 6: HU 140 A Art History Survey I 3.0 Professional Comm. 3.0 HU 251 History of Industrial Design 3.0 ID 490 B Design Practice Seminar 3.0 Fall Total 15.0 Electives 3.0 Spring HU XXX Liberal Arts 3.0 ID 200 B Studio 1: Projects 3.0 Spring Total 15.0 ID 220 B Studio 2: Techniques 3.0 Senior Year Total 30.0 ID 290 Design Issues Seminar 3.0 Electives 3.0 HU 140 B Art History Survey II 3.0 Electives must include nine studio credits taken Spring Total 15.0 outside the Industrial Design offerings. Recommended Electives: Sophomore Year Total 30.0 While none of the following is required for graduation, they are recommended by the department. ID 113 Freshman ID ID 312 Architectonics PF 203 Portfolio Documentation CR 251 Intro. to Molding and Casting CR 252 Plaster Workshop EM 110 Computer Concepts EM 210 Digital Multimedia HU 452 Topics in Design

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 51 Media Arts Faculty David Deneen Media Arts Adjunct Assistant Professor George Akerley BFA, The University of the Arts Harris Fogel Adjunct Associate Professor [email protected] BM, Composition, Philadelphia Dominic Episcopo Chairperson Musical Academy Lecturer 215-717-6300 MM, Composition, Philadelphia College BFA, The University of the Arts of Performing Arts The Media Arts Department offers majors Alida Fish in photography, film/digital video, and ani- Susan Arthur Professor mation, while providing elective classes to Senior Lecturer BA, Smith College the University at large. The three-year cur- BA,Wellesley College MFA, Rochester Institute of Technology riculum of each major is built around a MA, The University of Texas, Austin sequence of courses designed to move the Harris Fogel student to a position of independence within Laurence Bach Associate Professor the discipline. Many of our studio courses Professor BA, Humboldt State University feature a written component to provide a BFA, Philadelphia College of Art MA, New York University balance between technical skills and the Certificate, Graduate Study, School of critical thinking and historical context nec- Design, Basel, Switzerland Judy Gelles essary for a complete exploration of one’s Senior Lecturer medium. An introduction to the funda- Rick Barrick BS, Boston University mental ideas and techniques of the medium Senior Lecturer MEd, University of Miami fills much of the sophomore year. During BA, University of Georgia MFA, Rhode Island School of Design the two remaining years, the student is MFA, School of Visual Arts expected to refine techniques, develop a David Graham sense of personal vision, identify goals, and Lowell Boston Associate Professor pursue activities directly related to profes- Adjunct Assistant Professor BFA, Philadelphia College of Art sional practice. BFA, The University of the Arts MFA, Tyler School of Art, The Media Arts Department provides MFA, California Institute of the Arts Temple University extensive studio facilities and equipment for students enrolled in its courses. A nominal Gerard Brown Matthew Hollerbush fee is required for access. Lecturer Lecturer Philadelphia’s professional resources BFA, Boston University School of BFA, The University of the Arts have allowed the department to develop an Fine Arts extensive internship program for advanced MFA, School of the Art Institute of Jenny Lynn Media Arts majors. This program allows Chicago Senior Lecturer students to gain professional experience BFA, Tyler School of Art, while earning academic credit. Internship John J. Carlano Temple University sponsors have included commercial photog- Adjunct Associate Professor raphy studios; galleries; independent artists; BFA, Philadelphia College of Art Robert Lyons animation, film, video, and multimedia pro- Senior Lecturer duction houses; television stations; medical Connie Coleman BS, State University of New York, facilities; magazine and book publishers; Adjunct Professor New Paltz and digital imaging studios. BFA, MFA, Rhode Island School The Media Arts Department also offers of Design Chris Magee minor concentrations in all three of its pro- Assistant Professor gramsÐfilm/digital video, animation, and John Columbus BA, Reed College photographyÐwhich are available to stu- Adjunct Associate Professor BFA, University of Oregon dents outside of their major studio program. BFA, Hartford Art School MFA, California Institute of the Arts Those interested in this option should con- MFA, Columbia University School sult with both their major advisor and the of the Arts Michael O’Reilly Media Arts Department. Lecturer Colette Copeland BS, Indiana University of Pennsylvania Lecturer BFA, Pratt Institute Jeannie Pearce MFA, Syracuse University Adjunct Professor BFA, Rochester Institute of Technology MFA, University of Delaware

52 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 John Phillips John Woodin Senior Lecturer Adjunct Assistant Professor BFA, University of New Orleans Barbara Proud MFA, Tyler School of Art, Senior Lecturer Temple University BA, University of Delaware Ken Yanoviak Kathryn Ramey Senior Lecturer Senior Lecturer BA,Temple University BA,Evergreen State University MFA, Temple University

Maria Rodriguez Senior Lecturer BA, University of Virginia MFA, Temple University

Kathy Rose Senior Lecturer BFA, Philadelphia College of Art MFA, California Institute of the Arts

Peter Rose Professor BA, City College of New York

John Serpentelli Senior Lecturer BFA, MAT, The University of the Arts

Sandy Sorlien Master Lecturer BA, Bennington College

Karl Staven Associate Professor BA,Yale University MA, Harvard University MFA, New York University

Amanda Tinker Lecturer BS, Drexel University MFA, Tyler School of Art, Temple University

Tricia Treacy Lecturer BA,West Virginia University MFA, The University of the Arts

Vida Vida Master Lecturer BA, California State University MA, California State University

Wendy Weinberg Assistant Professor BA, University of Michigan MFA, Temple University

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 53 Photography Photography Bachelor of Fine Arts 123 credits Alida Fish [email protected] Foundation Credits Junior Credits Coordinator 215-717-6303 Fall Fall FP 110 Drawing 3.0 PF 311 A Jr. Photography Workshop I 3.0 This major prepares students for a wide FP 120 2-D Design 3.0 PF 313 A Basic Photography Studio I 3.0 range of careers in photography by pro- FP 130 3-D Design 3.0 PF 315 Digital Photography viding a solid grounding in traditional Workshop* 3.0 Electives 1.5 photography and digital imaging. In the HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 sophomore year, students receive in-depth Fall Total 15.0 HU 103 A Intro. to Modernism I 3.0 training in craft and ideas fundamental to Spring Fall Total 16.5 photographic imaging. Technical exercises PF 311 B Jr. Photography Workshop II 3.0 emphasize electronic imaging as well as tra- Spring PF 313 B Basic Photography Studio II 3.0 ditional black-and-white and color Choose any three courses: PF 415 A Critical Issues in processes. The curriculum covers both FP 111 Drawing 3.0 Photography 3.0 descriptive photography and more experi- FP 121 2-D Design 3.0 mental manipulated image-making. Electives 3.0 FP 131 3-D Design 3.0 HU XXX Liberal Arts 3.0 During the junior year, students consider FP 140 Time and Motion 3.0 photographic forms beyond the traditional Spring Total 15.0 Electives 1.5 print, such as the photographic book, non- Junior Year Total 30.0 silver processes, and installation work. HU 110 B First Year Writing II 3.0 Large-format photography and studio prac- HU 103 B Intro. to Modernism II 3.0 Senior tice with its control of artificial lighting are Spring Total 16.5 Fall also part of the junior curriculum. In both the junior and senior years, students may Freshman Year Total 33.0 PF 411 A Sr. Photography Workshop I 3.0 pursue the study of specialized interests on PF 415 B Critical Issues in Sophomore an elective basis, including illustration and Photography 3.0 editorial photography, photojournalism, Fall Electives 3.0 environmental portraiture, creative portfolio PF 210 A Intro. to Film I * 3.0 HU XXX Liberal Arts 6.0 development, advanced digital imaging, and PF 211 A Intro. to Photography I 3.0 Fall Total 15.0 professional practice. Electives 3.0 Spring The senior year is primarily devoted to HU 140 A Art History Survey I 3.0 PF 411 B Sr. Photography Workshop 3.0 the production of an independent body of HU 255 History of Photography 3.0 Select one of the following three courses: work of the student’s own choosing and Fall Total 15.0 PF 323 Selected Topics: direction. The senior thesis provides the Photography 3.0 opportunity to begin the process of self- Spring PF 413 Professional Practices 3.0 definition as photographer and artist. A PF 211 B Intro. to Photography II 3.0 PF 499 Internship 3.0 required junior-level course in photographic PF 217 Color Concepts * 3.0 criticism, coupled with required classes in Electives 3.0 Electives 6.0 the history of photography, exemplifies the HU 140 B Art History Survey II 3.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 strong emphasis that the department places Spring Total 15.0 on critical thinking and self-expression in Spring Total 15.0 words as well as through photographs. Senior Year Total 30.0 Sophomore Year Total 30.0 Each spring, the Media Arts Department hosts the Paradigm Lecture Series, an out- standing resource available to photography Liberal Arts Distribution Electives must include nine studio credits taken majors. Through this series, photographers Note all Liberal Arts courses are 3.0 credits. outside the Photography offerings. of national and international reputation are HU 110 A/B 3 cr. 3 cr. invited by the department to visit the HU 103 A/B 3 cr. 3 cr. * Can be taken either fall or spring semester. campus to discuss their work and meet with HU 140 A/B 3 cr. 3 cr. Literature 3 cr. the students. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. HU 255 History of Photo. 3 cr.

54 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Film/Digital Video Film/Digital Video Bachelor of Fine Arts 123 credits Peter Rose [email protected] Junior Credits Coordinator Foundation Credits 215-717-6554 Fall Fall FP 110 Drawing 3.0 PF 310 A Jr. Cinema Production I 3.0 The Film/Digital Video program in the FP 120 2-D Design 3.0 WM 219 Writing for Film 3.0 Media Arts Department prepares students to FP 130 3-D Design 3.0 PF 320 Sinc-Sound for work in Narrative, Documentary, and Narrative Film 3.0 Experimental filmmaking. At the same time, Electives 1.5 HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 a solid preparation and foundation in craft Fall Total 15.0 has enabled an extremely high percentage of HU 103 A Intro. to Modernism I 3.0 Spring our graduates to enter the professional field Fall Total 16.5 PF 310 B Jr. Cinema Production II 3.0 as freelance editors, sound recordists, cine- Spring matographers, technicians, animators, PF 324 Film Forum: Selected Topics 3.0 Choose any three courses: PF 322 Experiments in screenwriters, and directors. FP 111 Drawing 3.0 The Filmmaking major provides students Advanced Digital Video 3.0 FP 121 2-D Design 3.0 Electives 3.0 with a background in all phases of film and FP 131 3-D Design 3.0 video production, including film cinematog- HU XXX Liberal Arts 3.0 FP 140 Time and Motion 3.0 raphy, videography, film and video editing, Spring Total 15.0 and sound/image manipulation. As in still Electives 1.5 Junior Year Total 30.0 photography, filmmaking students acquire a HU 110 B First Year Writing II 3.0 strong background in criticism, theory, and HU 103 B Intro. to Modernism II 3.0 Senior history of media. All Film/Video majors Spring Total 16.5 pursue at least one practical internship as Fall part of the degree requirements. Freshman Year Total 33.0 PF 410 A Sr. Cinema Production I 3.0 The study of film and video at the PF 424 Time: University has been supplemented by a Sophomore A Multi-disciplinary Sem. 3.0 number of other activities, including the Fall PF 499 Internship 3.0 Paradigm Lecture Series. Through this PF 210 A Intro. to Film I 3.0 Electives 3.0 series, which occurs each spring, film and PF 211 A Intro. to Photography I 3.0 HU XXX Liberal Arts 3.0 video artists of national and international WM 251 Narrative Cinema I * 3.0 Fall Total 15.0 reputation visit the campus to conduct lec- CM 120 Sound Communication 3.0 Spring tures and present screenings of their work. HU 140 A Art History Survey I 3.0 PF 410B Sr. Cinema Production II 3.0 Fall Total 15.0 Electives 6.0 Spring HU XXX Liberal Arts 6.0 PF 210 B Intro. to Film/Digital Video 3.0 Spring Total 15.0 PF 212 B Intro. to Animation II 3.0 Senior Year Total 30.0 WM 252 Narrative Cinema II ** 3.0 HU 140 B Art History Survey II 3.0 HU XXX Liberal Arts 3.0 Electives must include nine studio credits taken Spring Total 15.0 outside the Film/Video offerings. * WM 251 and WM 252 Narrative Cinema I & II Sophomore Year Total 30.0 are required of all Film/Video majors. ** WM 252 Narrative Cinema II can be counted Liberal Arts Distribution as a studio elective, humanities, or liberal arts Note all Liberal Arts courses are 3.0 credits. elective. HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. HU 140 A/B 3 cr. 3 cr. Literature 3 cr. Humanities 3 cr. Social Science 3 cr. 3 cr. Science/Math 3 cr. Lib. Arts Electives 3 cr. 3 cr. WM 251 Narrative Cinema I 3 cr.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 55 Animation Animation Bachelor of Fine Arts 123 credits Karl Staven [email protected] Junior Credits Coordinator Foundation Credits 215-717-65523 Fall Fall FP 110 Drawing 3.0 PF312A Jr. Animation Workshop I 3.0 The Animation program in the Media FP 120 2-D Design 3.0 PF316 Computer Animation II*** 3.0 Arts Department prepares students to work FP 130 3-D Design 3.0 PF325 Sound Design and Tech. 3.0 in computer, traditional, stopmotion, and HU XXX Liberal Arts 6.0 Electives 1.5 experimental animation. The basic princi- Fall Total 15.0 HU 110 A First Year Writing I 3.0 ples of animation can be applied to all forms Spring of image and object manipulation. The HU 103 A Intro. to Modernism I 3.0 PF312B Jr. Animation Workshop II 3.0 program gives its graduates a strong under- Fall Total 16.5 PF327 Moving Art: Animation Theory3.0 standing of timing and motion, and a Spring and Production grounding in the wide variety of techniques Choose any three courses: available to the animator. Animation majors Electives 6.0 FP 111 Drawing 3.0 HU XXX Liberal Arts 3.0 get a solid background in life drawing, tra- FP 121 2-D Design 3.0 Spring Total 15.0 ditional hand-drawn animation, stop-motion FP 131 3-D Design 3.0 and experimental animation, and 2-D and 3- FP 140 Time and Motion 3.0 Junior Year Total 30.0 D computer animation. Animation majors choose the area(s) on which to focus as they Electives 1.5 Senior construct their junior and senior thesis HU 110 B First Year Writing II 3.0 Fall films. HU 103 B Intro. to Modernism II 3.0 PF412A Sr. Animation Workshop 3.0 This broad-based approach has allowed Spring Total 16.5 graduates to obtain professional positions in Select one course from the following two: both the animation industry and as inde- Freshman Year Total 33.0 WM219 Writing for Film 3.0 pendent artists. Alumni become computer PF424 Time: animators, directors, storyboard artists, pro- Sophomore A Multidisciplinary Sem. 3.0 duction assistants, special-effects animators, Fall Electives 3.0 and character designers. PF 210 A Intro. to Film I 3.0 HU XXX Liberal Arts 6.0 PF 212 A Intro. to Animation I 3.0 Fall Total 15.0 IL 205 Figure Drawing** Spring for Animators 3.0 PF412B Sr. Animation Workshop 3.0 WM 251 Narrative Cinema I * 3.0 PF324 Film Forum: Selected Topics 3.0 HU 140 A Art History Survey I 3.0 Fall Total 15.0 Electives 3.0 Spring HU XXX Liberal Arts 6.0 PF 210 B Intro. to Film/Digital Video 3.0 Spring Total 15.0 PF 212 B Intro. to Animation II 3.0 Senior Year Total 30.0 PF 216 Computer Animation I *** 3.0 WM 252 Narrative Cinema II * 3.0 HU 140 B Art History Survey II 3.0 Electives must include nine studio credits taken Spring Total 15.0 outside the Animation offerings. Sophomore Year Total 30.0 * WM 251 and WM 252 Narrative Cinema I and II are required of all Animation majors. WM 252 Narrative Cinema II can be counted as a studio Liberal Arts Distribution elective, humanities, or liberal arts elective. Note all Liberal Arts courses are 3.0 credits. ** IL 205 fulfills 3 credits of elective requirements. HU 110 A/B 3 cr. 3 cr. *** Can be taken either fall or spring semester. HU 103 A/B 3 cr. 3 cr. By the end of the junior year, it is strongly recom- HU 140 A/B 3 cr. 3 cr. mended that Animation majors have taken Literature 3 cr. at least one of the following five advanced major Humanities 3 cr. electives for three studio elective credits: Social Science 3 cr. 3 cr. Science/Math 3 cr. IL 202 Figure Drawing Lib. Arts Electives 3 cr. 3 cr. PF 326 Advanced 3-D Computer Animation WM 251 Narrative Cinema I 3 cr. PF 328 Selected Topics in Animation PF 330 Clay and Puppet Animation PF 331 Image and Performance

56 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Film/Animation Bachelor of Fine Arts 135 credits

Liberal Arts Distribution Foundation Credits Junior Credits Note all Liberal Arts courses are 3.0 credits. Fall Fall HU 110 A/B 3 cr. 3 cr. HU 103 A/B 3 cr. 3 cr. FP 110 Drawing 3.0 PF 310 A Jr. Cinema Production I 3.0 HU 140 A/B 3 cr. 3 cr. PF 312 A Jr. Animation Workshop I 3.0 FP 120 2-D Design 3.0 Literature 3 cr. FP 130 3-D Design 3.0 PF 316 Computer Animation II 3.0 Humanities 3 cr. PF 320 Film Sound 3.0 Social Science 3 cr. 3 cr. Electives 1.5 HU XXX Liberal Arts 6.0 Science/Math 3 cr. HU 110 A First Year Writing I 3.0 Lib. Arts Electives 3 cr. 3 cr. Fall Total 18.0 HU 103 A Intro. to Modernism I 3.0 WM 251 Narrative Cinema I 3 cr. Spring Fall Total 16.5 PF 310 B Jr. Cinema Production II 3.0 Spring PF 312 B Jr. Animation Workshop II 3.0 Choose any three courses: PF 327 Moving Art: FP 111 Drawing 3.0 Animation Theory 3.0 FP 121 2-D Design 3.0 PF 322 Media Technology 3.0 FP 131 3-D Design 3.0 HU XXX Liberal Arts 6.0 FP 140 Time and Motion 3.0 Spring Total 18.0 Electives 1.5 Junior Year Total 36.0 HU 110 B First Year Writing II 3.0 HU 103 B Intro. to Modernism II 3.0 Senior Spring Total 16.5 Fall Freshman Year Total 33.0 PF 410 A Sr. Cinema Production I 3.0 PF 412 A Sr. Animation Workshop I 3.0 Sophomore Select one course from the following two: Fall WM 219 Writing for Film 3.0 PF 210 A Intro. to Film I 3.0 PF 424 Time: PF 211 A Intro. to Photography I* 3.0 A Multi-disciplinary Sem. 3.0 PF 212 A Intro. to Animation I* 3.0 Electives 3.0 IL 205 Figure Drawing HU XXX Liberal Arts 6.0 for Animators* 3.0 Fall Total 18.0 WM 251 Narrative Cinema I** 3.0 HU 140 A Art History Survey I 3.0 Spring PF 410 B Sr. Cinema Production II 3.0 Fall Total 18.0 PF 412 B Sr. Animation Workshop II 3.0 Spring PF 324 Film Forum: Selected Topics 3.0 PF 210 B Intro. to Film/Digital Video 3.0 PF 499 Internship 3.0 PF 212 B Intro. to Animation II 3.0 HU XXX Liberal Arts 3.0 PF 216 Computer Animation I* 3.0 Spring Total 15.0 WM 252 Narrative Cinema II** 3.0 HU 140 B Art History Survey II 3.0 Senior Year Total 33.0 Spring Total 15.0 Sophomore Year Total 33.0 Electives must include nine studio credits taken outside the Film/Animation offerings. * Can be taken either fall or spring semester ** WM 251 and WM 252 Narrative Cinema I and II are required of all Film/Animation majors as part of the total Liberal Arts distribution.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 57 Students enrolled in the Pre-Certification Academic Regulations Art Education Concentration in Art Education must take Students working toward certification are and pass the Professional Writing Intensive required to maintain a 3.0 cumulative Barbara Suplee course in the first semester of their senior average in certification coursework. [email protected] year, prior to student teaching in the Post- Admission to the Post-Baccalaureate Chairperson, Director Baccalaureate Student Teacher Program. Student Teacher Program is by permission 215-717-6053 A score of 90 percent or higher is passing. of the department, based on satisfactory Students with scores of 80 to 89 percent completion of all prerequisites, evidence of Pre-Certification will be required to obtain remedial tutoring, promise as a teacher demonstrated in prior and they must take and pass the depart- coursework, and good academic standing. Concentration in Art ment’s “Writing Proficiency Exam” before Students must maintain a “B” average in art Education they can student teach. Those who score education courses to be permitted to student below 70 percent may not be admitted to teach. A grade of “B” or better in the The teaching of art is a profession that the Post-Baccalaureate Student Teacher allows for the artist-teacher’s continued Student Teaching Practicum is required for Program. Students may test out of the recommendation for certification. growth while nurturing the aesthetic and Professional Writing Intensive course by creative experiences of others. Recent taking and passing the department Writing Art Education Faculty national as well as statewide attention to Proficiency Exam. Prior to entering the education and to the role of the arts in edu- Post-Baccalaureate Teacher Program, stu- cation makes this an especially good time Paul Adorno dents must have successfully completed the Adjunct Assistant Professor for students to consider becoming an art Instructional I PRAXIS tests. teacher and artist. In preparing students for AB, Georgetown University The Art Education concentration pro- MSEd, University of Pennsylvania careers in art education, the University is vides a strong theoretical and practical committed to the ideal of exemplary foundation for teaching as a career. teachers who are also able to produce their Raye Cohen Through field experiences starting in the Adjunct Assistant Professor own competent works. To that end, the sophomore year, the student is able to University offers a flexible program of BA, University of Pennsylvania explore teaching in a variety of traditional MA, The University of the Arts competency-based education at the under- and alternative settings. Students are also graduate level to prepare students to provided with the necessary competencies complete a professional certification pro- Diane Foxman in teaching K-12 Art, and in meeting the Senior Lecturer gram after graduation or within a state and national standards through special four-year undergraduate program plus BA, Antioch College studies in education combined with liberal MA, Goddard College an additional post-baccalaureate arts coursework in art history, aesthetics, professional semester. criticism, social sciences, and studies in The Pre-Certification concentration is Arlene Gostin studio production. Associate Professor designed to be taken in conjunction with a The Pre-Certification Concentration may regular studio major in the BFA program. BA, University of Delaware be taken in its entirety or in part to fit indi- MA, Philadelphia College of Art In addition to meeting the requirements of vidual plans and needs. Students who a major studio department, students complete the program will be able to enroll June Julian enrolled in the pre-certification concentra- directly in the Post-Baccalaureate Teacher tion take courses in the Art Education Associate Professor Program, in which they can complete the BS, Kutztown University Department, plus prescribed courses in lib- student-teaching requirement (AE 659, AE eral arts, photography, electronic media, MEd The Pennsylvania State University 552) in as little as one regular semester EdD, New York University and other studio areas that help fulfill the beyond the bachelor’s degree. In addition, general Liberal Arts and studio electives students must successfully complete the Maria Lengauer requirements. PRAXIS required tests, with satisfactory All candidates seeking certification to Senior Lecturer scores to qualify for the Pennsylvania BFA, Philadelphia College of teach K-12 in Pennsylvania must complete Instructional I Certificate to teach Art K-12. 48 credits including six credits of college- Art and Design In another viable alternative, qualified MAT, The University of the Arts level math, three credits of college-level graduates may enter the Master of Arts in English composition, and three credits of Teaching program, in which it is possible to Slavko Milekic British or American literature prior to earn a master’s degree and certification in formal admission to the professional edu- Associate Professor as little as three semesters or two semesters MSc, MD, Belgrade University, cation program. Careful advising is and two summers. essential. Yugoslavia PhD, University of Connecticut

58 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Janis Norman Pre-Certification Professor in Art Education BAE, University of Kansas MA, University of Missouri, Kansas City PhD, University of Kansas Foundation Credits Senior Fall AE 599*** Professional Writing Susan Rodriguez FP 110 Drawing 3.0 Intensive 2.0 Adjunct Professor FP 120 2-D Design 3.0 AE 559+ Saturday Practicum 3.0 BFA, MEd, Tyler School of Art, FP 130 3-D Design 3.0 AE 548+ Program Design and Methods: Temple University Secondary 3.0 Electives 1.5 Barbara Suplee HU 110 A First Year Writing I 3.0 Senior Year Total 6.0 Associate Professor HU 103 A Intro. to Modernism I 3.0 BFA, West Chester University Fall Total 16.5 Students must successfully complete the MEd, Tyler School of Art, Instructional I PRAXIS tests prior to entering the Temple University Spring Post-Baccalaureate Teacher Program. PhD, Pennsylvania State University Choose any three courses: FP 111 Drawing 3.0 JoAnn Wright FP 121 2-D Design 3.0 Post-Baccalaureate Teacher Program Senior Lecturer FP 131 3-D Design 3.0 Credits FP 140 Time and Motion 3.0 BA, Rutgers University AE 552 The Art of Teaching 3.0 BA,Rowan University Electives 1.5 AE 659++ Student Teaching Practicum 9.0 HU 110 B First Year Writing II 3.0 Post Baccalaureate Total 12.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 16.5 * These courses also count toward the liberal arts Freshman Year Total 33.0 core of the bachelor’s degree.

Sophomore *** AE 599 is required of students who do not pass AE 200 Presentation Skills 1.0 the Art Education Department Writing Proficiency Exam. It does not fulfill any requirements for pre- AE 201 Introduction to certification or the bachelor’s degree. Visual Arts Education 2.0 HU 181* Child and Adolescent +These courses have a required field placement. Psychology 3.0 Math 6.0 ++ The Student Teaching Practicum consists of two British/American Lit. 3.0 4.5-credit components: a seven-week elementary field placement and a seven-week secondary field Sophomore Year Total 15.0 placement. The two field placements may be taken over two semesters. If this option is elected, the full Junior 15-week seminar that accompanies the Practicum AE533 Art and Inclusionary Ed. 3.0 must be taken in both semesters AE 547+ Program Design and Methods: Required Studio Electives Elementary 3.0 Pre-Certification students should complete at least AE547 Prog. Design: Elementary 3.0 three upper level credits in a two-dimensional HU162 Individual and Society 3.0 medium if their major is in a three-dimensional HU270 Intro. to Aesthetics or area, and vice versa. Other studio work must AE549 Program Design and Methods: include at least one course each in photography, Aesthetics/Art Criticism 3.0 computer with graphics applications, painting, drawing, ceramics, and printmaking. HU357 Modern Art (preferred) or a Discipline Art History 3.0 AE 533, AE 547, AE 548, and AE 559 fulfill Art Junior Year Total 15.0 Education and studio elective requirements outside of the major program.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 59 The Hahnemann Creative Arts Art Therapy in Therapy Program at Drexel University Karen Clark-Schock Students interested in applying to The [email protected] Hahnemann Creative Arts in Therapy Director Program at Drexel University for a master’s 215-717-6236 degree in Art Therapy have the advantage of studying with faculty who teach in both Concentration in Art Therapy the UArts and Hahnemann therapy pro- Art therapy, a well-respected discipline grams. Course content and experience in within the human services profession, the UArts undergraduate program provides offers an exciting career opportunity for the excellent credentials for graduate study studio art major. It utilizes art as a non- and, in particular, educational continuity verbal means of communication and with the graduate program at Drexel self-expression, and thereby provides a cre- University. ative vehicle through which to explore personal problems as well as personal Art Therapy Faculty strengths and potentials. Art therapy recog- nizes that the entire art process, how it Karen Clark-Schock unfolds, the drawn forms and content, as Adjunct Associate Professor well as the verbal associations, are all BA, Rosemont College reflections of the individual client. MCAT, Hahnemann University Art therapists work with children and PsyD, Immaculata College adults of all ages in a variety of settings. These include psychiatric and medical hos- Nancy Gerber pitals, schools, clinics, community centers, Senior Lecturer nursing homes, and drug and alcohol treat- BS, Pennsylvania State University ment clinics. As members of a team, art MS, Hahnemann University therapists may work with physicians, psy- chiatrists, psychologists, social workers, Susan Kaye-Huntington and educators. The art therapist uses art- Adjunct Assistant Professor work for both diagnosis and treatment. Art BA,New York University therapy may also be utilized as a means of MCAT, Hahnemann University promoting creativity and wellness, and may PsyD, Immaculata College therefore be viewed as a force in the pre- vention of illness. While enrolled in one of the BFA pro- grams within the College, students may also elect a concentration in Art Therapy. This concentration introduces them to the discipline on the undergraduate level. This concentration gives students a chance to explore a career option while they are engaged in undergraduate study. Students who do not wish to pursue the professional degree will nonetheless find that their study of art therapy is beneficial in other fields, particularly in education, and in their own personal development. Students who elect the Art Therapy pro- gram take four designated courses in psychology and five courses in art therapy, each of which meets overall requirements toward the Bachelor of Fine Arts. At gradu- ation, Art Therapy Concentration students receive a certificate of completion in Art Therapy along with the Bachelor of Fine Arts degree.

60 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Art Therapy Concentration

Foundation Credits Junior Credits Fall Fall FP 110 Drawing 3.0 AT 300 Intro. to Art Therapy 3.0 FP 120 2-D Design 3.0 HU 384 Abnormal Psychology 3.0 FP 130 3-D Design 3.0 Fall Total 6.0 Electives 1.5 Spring HU 110 A First Year Writing I 3.0 AT 301 Social and Group Process 3.0 HU 103 A Intro. to Modernism I 3.0 AT 304 Theories and Techniques of Fall Total 16.5 Art Therapy with Children and Adolescents 3.0 Spring Choose any three courses: Spring Total 6.0 FP 111 Drawing 3.0 Junior Year Total 12.0 FP 121 2-D Design 3.0 FP 131 3-D Design 3.0 Senior FP 140 Time and Motion 3.0 Fall Electives 1.5 AT 305 Theories and Techniques of HU 110 B First Year Writing II 3.0 Art Therapy with Adults 3.0 HU 103 B Intro. to Modernism II 3.0 HU 483 Theories of Personality 3.0 Spring Total 16.5 Fall Total 6.0 Spring Freshman Year Total 33.0 AT 401 Senior Practicum 3.0 Sophomore Spring Total 3.0 HU 181 A Child and Adolescent Senior Year Total: 9.0 Psychology 3.0 HU 181 B Adult Psychology 3.0 Art Therapy Courses 15.0 Liberal Arts Courses 12.0 Sophomore Year Total 6.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 61 College of Art and Design Thesis Grading The grade of “IP” (“In Progress”) signifies that the student is Graduate Programs making satisfactory progress toward completing the graduate thesis. This grade will apply only to graduate thesis courses where the stu- dent’s thesis is still in progress. Carol Moore This grade is available only for the following courses: [email protected] AE 649 Graduate Project/Thesis Graduate Coordinator MS 749 A/B Thesis Development 215-717-6106 ID 749 Master’s Thesis Documentation FA 795 MFA Thesis Exhibition Graduate study in the College of Art and Design provides MU 603 Graduate Project/Recital intensive professional preparation in a stimulating multi-arts envi- ronment. A select range of specialized graduate degrees in Fine Arts, An “IP” grade acknowledges the fact that the final course product Design, and Visual Arts Education features focused curricula, small (thesis) may require some period of time past the semester of regis- classes, dedicated faculty, and access to outstanding facilities and tration to complete. The “IP” grade will remain on the student’s resources. record until a final thesis grade is submitted by the instructor. In All programs address interarts and/or interdisciplinary issues some cases, a student will be registered for thesis courses as a through both studio activity and the University Seminars on sequence (e.g., MS 749 A/B). When the final grade is submitted by “Structure and Metaphor,” and “Art and Society,” which bring stu- the instructor, it will replace the “IP” grade. The “IP” grade is not dents together from all graduate programs at the College of Art and computed in the grade-point average. Design. Additionally, all MFA students take the University In order to remain in good standing while the thesis is “in Seminar on “Criticism.” progress,” the student must register for the thesis continuation fee A University of the Arts education extends beyond the classroom for each semester he or she is not enrolled in coursework. and studio. Through partnerships, workshops, residencies, intern- ships, and symposia, students engage the larger art, design, and education communities and interact with some of today’s Graduate Project/Thesis most important artists, designers, and educators in a broad Continuation Fee range of disciplines. A student who has completed all the course requirements for the The College of Art and Design offers these graduate programs: master’s degree and is currently working on the graduate thesis, Master of Fine Arts degrees in Book Arts/Printmaking, Museum either on or off-campus, must register and pay a graduate thesis con- Exhibition Planning and Design; low-residency summer Master of tinuation fee per semester until the thesis is completed and accepted. Fine Arts degrees in Ceramics, Painting, or Sculpture; Master of This registration, through the Office of the Registrar, is required in Industrial Design; Master of Arts in Art Education; Master of Arts in each succeeding semester, excluding the summer sessions, until all Museum Communication; Master of Arts in Museum Education; degree requirements are met. Students completing a degree in the Master of Arts in Teaching in Visual Arts. summer must pay the thesis fee in the final summer semester. Student Classification and Leave of Absence Course Load A graduate student may take a leave of absence prior to the com- Graduate students must be enrolled for at least nine credits to be pletion of all coursework and with the program director’s approval. considered full-time. Tuition for part-time graduate students is Students may take a maximum of two one-semester leaves of charged on a per-credit basis. absence throughout their course of study, either in sequence or as Graduate student class status is determined as follows: needed. Once the thesis has begun and all coursework has been com- G1 up to 17.5 credits pleted, students must register and pay for the thesis continuation fee G2 18 credits or more for successive semesters and are not eligible for a leave of absence. SUMFA students are limited to one off-semester leave of absence between the first and third summers. If a longer leave of absence is Graduate Thesis Requirements necessary, the student will be asked to take a full year’s leave of CAD graduate programs require each graduate student to meet absence. specific thesis requirements. The requirements may include a thesis exhibition or project, and should be successfully completed once the student has fulfilled all other program requirements. Students must submit three copies of their thesis to their program director in order to qualify for the degree. One copy of the thesis remains with the department and two are submitted to the Greenfield Library.

62 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Graduate Double Degree Policies Summer Graduate Electives Policy Graduate students already enrolled in a master’s 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 master’s 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 these courses only after obtaining approval and with a grade-point average of at least 3.0. Students who are inter- the signature of the CAD Graduate Coordinator. A maximum of six ested in this option must be aware that completion of two degrees credits is transferrable to the graduate curriculum. will likely require additional time and requires intensive advising and coordination of requirements. Degree Candidacy and Completion Students currently enrolled in a master’s degree program who Midway through their respective programs, graduate students’ wish to pursue a second master’s degree must request, in writing, progress in their discipline and proposal for thesis will be reviewed that the Registrar forward a copy of their transcript and official file by the appropriate Graduate Committee to formally determine to the director of the program to which they are seeking admission. whether a student becomes a degree candidate, and is ready to con- The director of the second program may require the student to tinue toward development and completion of the thesis or graduate submit materials for portfolio review, and may require additional let- project. ters of reference. The director of each graduate program is Graduate students have up to seven years from matriculation date responsible for coordinating any required portfolio review. Portfolio to complete a two-year master’s program, and up to six years from requirements are listed on the Graduate Application or may be matriculation date to complete a one-year program. obtained directly from the graduate director or coordinator. Final acceptance into a double degree program must be approved by the Director of Graduate Programs. Credit Duplication 1. A student may be awarded a particular degree from the No course, including graduate courses, which has satisfied under- University only once; i.e., once the student has earned an MA, he or graduate degree requirements, may be counted again for graduate she may not be awarded another MA. credit. 2. A student may not receive two different master’s degrees from the same program; i.e., he or she cannot pursue both the MA in Art Transfer Credit Education and MAT in Visual Arts. A maximum of six credits of graduate credit may be transferred 3. A student may earn up to two master’s degrees, either simulta- and applied toward the graduate degree requirements upon approval neously or sequentially. of the program director. All transfer credits must be graduate level 4. If a student is approved for a double degree, and six credits are classes or upper-level undergraduate classes taken for graduate shared between the two programs, the student may transfer a max- credit at an accredited college or university, approved by the imum of six additional credits from an accredited institution. Registrar and the Graduate Director, and must be a “B” or higher 5. A student who has completed one degree and wishes to matric- grade. ulate in another does so by applying to the new program through the Studio courses must be 300-level for graduate credit. Two hun- Office of Admission. dred level courses may be taken with justification from the director 6. Students in the Summer MFA program who wish to pursue a and written approval from the Graduate Coordinator. Art Education second graduate degree will be charged the regular graduate tuition Competency may be taken as an independent study. 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 pro- bation. 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.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 63 Post-Baccalaureate Options Post -Baccalaureate Teacher Program Pre-Certification Concentration in Art Education, Professional Semester (for UArts Crafts Studio Certificate Program alumni only) A Post-Baccalaureate Portfolio Development Program The Post-Baccalaureate Teacher Program, Professional Semester, is an intensive one-semester experience built around a fourteen- The University’s 30-credit certificate program offers an intensely week student teaching practicum, in which the student devotes seven focused education in crafts. The program is designed for those stu- weeks to teaching at the elementary school level and seven weeks to dents with bachelor’s degrees who wish to become proficient artists teaching at the middle or secondary school level under the guidance in one or more of the following areas: ceramics, fibers, glass, jew- and supervision of master teachers and Art Education Department elry, metal-smithing, or wood. Courses dealing with technique, faculty. philosophy, and contemporary issues are aimed to develop an indi- The Post-Baccalaureate Teacher Program, Professional Semester, vidual’s portfolio for further graduate study or a career as an is only available to University of the Arts/College of Art and Design independent studio artist or design professional. students the semester following receipt of the bachelor’s degree, The Crafts Studio Program offers the studio component of the which must include all pre-certification requirements except AE 552 University’s undergraduate crafts program in a focused one-and- and AE 659. Students must also have a 3.0 GPA, have successfully one-half or two-year period. Students accepted to the program take a completed the instructional I Praxis Tests, and be recommended by minimum of 7.5 credits to a maximum of 12 credits per semester. the Art Education department. Certificate students must take a minimum of 12 media-specific Prior to teaching in the Post-Baccalaureate Teacher Program, stu- credits at the 300 course level. The prerequisite for 300-level courses dents must take the AE 599 Professional Writing course or pass the is two 200-level courses in that same medium. However, if an appli- Professional Writing Proficiency Exam with a score of 90 percent or cant’s portfolio indicates enough experience in a particular medium, higher. Those who score below 70 percent on the Professional 200-level prerequisites may be waived at the time of acceptance. See Writing Proficiency Exam after completing the Professional Writing the preceding section for a listing of media-specific courses. Intensive course may not be admitted to the Post-Baccalaureate Certificate students benefit from taking courses with degree can- Student Teacher Program, Professional Semester. didates in a quality undergraduate program. In addition to The Pre-Certification Concentration, when coupled with the Post- technically oriented, media-specific courses, students take core Baccalaureate Teacher Program, is accredited by the Pennsylvania courses involving design/theory issues, criticism, and Department of Education as an approved program to prepare stu- professional/career practices. dents to receive the Instructional I Certificate to teach Art K-12. Admission is by portfolio and interview. Students with little or no Since June 1987, all applicants for certification in Pennsylvania formal art training will be required to take Foundation courses. The must also take and pass all required tests in the PRAXIS Series, program advisor (in consultation with the student) will set the Professional Assessments for Beginning Teachers of the National number of required prerequisites. These may be taken in advance of Teachers Exam to qualify for the certificate. or concurrently with the certificate program. Supplementary courses and activities complete the preparation of the future teacher to enter the profession.

Post-Baccalaureate Teacher Program, Professional Semester Credits AE 552 The Art of Teaching 3.0 AE 659 Student Teaching Practicum 9.0 Post Baccalaureate Total 12.0

64 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Post-Baccalaureate Teacher Program (Non-Degree for non-UArts graduates)

The Post-Baccalaureate Teacher Program (Non-Degree) is an intensely focused course of study designed to prepare those seeking certification to teach Art K-12. To be eligible for this 30-credit program, candidates must hold a BFA or BA degree in art, or equiv- alent, with four credits in studio art and 12 credits in art history, with a "B" or better cumulative average. They must also have completed six credits in college-level math, three credits of English composi- tion, and three credits in American or British literature. In addition candidates must have successfully completed the Instructional I, PRAXIS tests. Depending on the student’s background and all co- requisites being met, this 30-credit program may be completed in three full semesters.

Post-Baccalaureate Teacher Program (Non-Degree) Credits Fall AE 559* Professional Writing Intensive 2.0 AE 200 Presentation Skills 1.0 AE 201 Introduction to Visual Arts Education 2.0 AE 547+ Program Design and Methods: Elementary 3.0 AE 550 Creative and Cognitive Development 3.0 Fall Total 9.0 Spring AE 548+ Program Design and Methods: Middle and Secondary 3.0 AE 533+ Art and Inclusionary Education 3.0 AE 559+ Saturday Practicum 3.0 Spring Total 9.0 Fall AE 552 The Art of Teaching 3.0 AE 649 Student Teaching Practicum 9.0 Fall Total 12.0 Post Baccalaureate Total (Non-Degree) 30.0

* AE 599 is required of students who do not pass out of the Art Education Department Writing Proficiency Exam. It does not fulfill any requirements for pre-certification. AE 599 must be taken and passed in the first semester of enrollment. (See course description for additional information.) Those who score below 70 percent on the Professional Writing Proficiency Exam after completing the Professional Writing course may not continue in the Post- Baccalaureate Teacher Program (Non-Degree).

+ These courses have a required field placement.

No credits earned in the Post-Baccalaureate Teacher Program (Non-Degree) may be converted to graduate credits or be considered for transfer credit in a graduate program.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 65 and the research and thesis required for the Carol Moore Art Education MA degree. Full-time students may com- Associate Professor plete the MA program in one academic year BFA, MFA, Tyler School of Art, Master of Arts plus a summer or three semesters. Part-time Temple University students may take coursework over as many as five years. Depending on the needs of the Janis Norman Barbara Suplee individual student, professional education Professor [email protected] courses and selected studio arts and liberal BAE, University of Kansas Chairperson, Director arts courses may be taken in the evenings MA, University of Missouri, Kansas City 215-717-6053 and summers. PhD, University of Kansas The Master of Arts in Art Education pro- Master of Arts Faculty Susan Rodriguez gram at The University of the Arts is Adjunct Professor designed to develop the studio, intellectual, BFA, MEd, Tyler School of Art, and professional education background of Paul Adorno Temple University art educators, enabling them to meet Adjunct Assistant Professor AB, Georgetown University advanced professional goals. Barbara Suplee Coordinating professional education MSEd, University of Pennsylvania Associate Professor courses with work in liberal arts, graduate BFA, West Chester University research, and a concentration in studio arts Raye Cohen MEd, Temple University that include emerging digital and alternative Adjunct Assistant Professor PhD, Pennsylvania State University media, the MA in Art Education Program BA, University of Pennsylvania MA, The University of the Arts offers custom-designed programs of study to JoAnn Wright meet individual needs. A series of graduate Senior Lecturer education seminars address historical and con- Anne El-Omami BA,Rutgers University temporary issues in art theory, criticism, and Associate Professor BA,Rowan University education. Drawing on the wide range of BFA, BA, University of Nebraska, studio departments, nearly half of the program Lincoln is reserved for work in one or more studio MA, University of Nebraska areas, museum studies, or liberal arts depending upon the student’s particular back- Diane Foxman ground and career needs. The independent Senior Lecturer thesis or graduate project, which is normally BA, Antioch University completed in two semesters, may take the MA, Goddard College form of either an academic research paper or a graduate project in an appropriate format. Arlene Gostin Designed for both established and new Associate Professor teachers, the degree may satisfy credit BA, University of Delaware accrual requirements for permanent certifi- MA, Philadelphia College of Art cation or lead to other career advancement. Graduates have also found the program rele- June Julian vant to positions in museum education, Associate Professor college (especially junior college) teaching, BS, Kutztown University arts administration, educational media, and MEd, The Pennsylvania State University other related fields. Applicants must hold a EdD, New York University bachelor’s degree or equivalent with no fewer than 40 credits in studio work and 12 Maria Lengauer credits in art history with a “B” or better Lecturer cumulative average. A teaching certificate is BFA, Philadelphia College of Art not required. Students not holding degrees and Design in the visual arts can expect to complete 18 MAT, The University of the Arts credits of foundation studies and/or up to 40 credits of studio work, depending upon fac- Slavko Milekic ulty review of their portfolio. Associate Professor The degree may also be taken in conjunc- MSc, MD, Belgrade University, tion with the Certification Program in Art Yugoslavia Education, thereby allowing the student to PhD, University of Connecticut earn a master’s degree plus Certification. The difference between this combination and the MAT (Master of Arts in Teaching), is the concentration in graduate studio work

66 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Art Education Master of Arts 36 credits

Summer Credits Studio Electives 3.0 Liberal Arts Elective 3.0 Summer Total 6.0 Fall AE 599* Professional Writing Intensive 2.0 AE 606 Research in Education: Methods and Trends 3.0 GR 691 University Seminar: Structure and Metaphor 3.0 AE 610 Graduate Studio Seminar 3.0 Electives 6.0 Fall Total 15.0 Spring AE 602 History of Ideas in Art and Museum Education 3.0 AE 649** Graduate Project/Thesis 6.0 GR 692 University Seminar: Art and Design in Society 3.0 Electives 3.0 Spring Total 15.0 Total Credits 36.0

* AE 599 is required of students who do not pass the Art Education Department Writing Proficiency Exam. It must be taken and passed in the first semester of enrollment, and does not fulfill any credit requirements for the MA program. (See course description for additional information.) ** AE 649 Graduate Project/Thesis may be taken as a six-credit block or in two three-credit blocks. To remain in good standing while the thesis is “in- progress,” students must register for the thesis con- tinuation fee for each semester they are not enrolled in coursework. Students must be registered for the semester in which they defend their thesis, and until the thesis is completed and bound copies are submitted to the Art Education Department.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 67 Concentration in Technology Competencies Art Education To acquire the following basic competen- Master of Arts with a Educational Media cies in technology, a student may take University technology courses, workshops, Concentration in Barbara Suplee and tutorials, including those offered through Educational Media 36 credits [email protected] the Continuing Studies Professional Institute Chairperson, Director for Educators. Based on a review of portfolio Fall Credits 215-717-6053 and approval by the Art Education AE 599* Professional Writing Department, a graduate student may be The Concentration in Educational Media, excused from this requirement. Intensive 2.0 as part of a Master of Arts in Art Education, ¥ Macintosh and Windows operating AE 507 Educational Media A: is designed to prepare graduate students to environments Teaching and Learning 3.0 use, plan, and manage technology in the ¥ Navigation, menu, file management, GR 691 University Seminar: K-12 art curriculum and classroom. and transfer and storage skills Structure and Metaphor 3.0 Educational media are those digital tools and ¥ Productivity skills AE 606 Research in Art Education: applications used for creative and instruc- (word processing and spreadsheet) Methods and Trends 3.0 tional purposes within a K-12 classroom and ¥ Navigational and information search Elective (technology-based) 3.0 school setting. The use of educational media, and retrieval skills therefore, is not solely for developing cre- (Internet and World Wide Web) Fall Total 12.0* ative expression in students, but also as a ¥ Electronic presentation skills Spring means to support the teaching and learning of (PowerPoint, etc.) AE 509 Educational Media B: K-12 art. ¥ Computer graphics knowledge, Candidates for this Concentration are Planning and Management 3.0 concepts, and skills AE 602 History of Ideas in students with a background and training in (raster, vector, and Web graphics) both technology and art who want to inte- Art and Museum Education 3.0 GR 692 University Seminar: grate the use of technology into the teaching Required Core Courses of art. Students in the Master of Arts in Art Art and Design in Society 3.0 Two related semester courses form the Elective (technology-based) 3.0 Education program who complete this required core of the Concentration in Concentration will serve as classroom art Educational Media A: Teaching and Spring Total 12.0 teachers integrating technology into their cur- Learning, and Educational Media B: Fall riculum and practice, and as technology Planning and Management. These two core leaders in their school and district. AE 530 Interactive Media for courses are designed to be taken together as a Art and Museum Educators 3.0 year-long sequence. Educational Media A: Requirements AE 610 Graduate Studio Seminar 3.0 Teaching and Learning focuses on the con- AE 649** Graduate Project/Thesis 6.0 A Master of Arts in Art Education major ceptual, curricular, and instructional must complete a total of 12 credits in approaches and strategies needed to integrate Fall Total 12.0 required core and elective courses in tech- digital technologies into the K-12 art class- Total Credits 36.0 nology for a Concentration in Educational room. Educational Media B: Planning and Media. The other remaining six credits may Management examines the issues and topics be elective courses that the student chooses related to designing technology environments * AE 599 is required of students who do not pass the to advance his or her study of technology. for K-12 art education. Art Education department Writing Proficiency Exam. In addition to these 12 credits toward a It must be taken and passed in the first semester of Concentration in Educational Media, the Elective Courses enrollment and it does not fulfill any credit require- graduate thesis/project (six credits) will be The purpose of the elective courses is to ments for the MA. If a student must take AE 599, his/her semester will include a total of 14 credits. directed toward research involving the use of give the student concentrating in Educational technology in art education. Competencies Media the opportunity to explore specific ** AE 649 Graduate Project/Thesis may be taken as and specific requirements for the Educational interests involving technology. To that end, a six-credit block or in two 3-credit blocks. To Media Concentration are the following: remain in good standing while the thesis is “in- six credits must be used for further explo- progress,” students must register for the thesis con- ration in technology-related courses from the tinuation fee for each semester they are not enrolled University. in coursework. Students must be registered for the semester in which they defend their thesis, and until Thesis/Project the thesis is completed and bound copies are sub- A student in the Master of Arts in Art mitted to the Art Education Department. Education program with a Concentration in Educational Media will focus on a topic or idea related to technology in art education as part of his or her graduate thesis/project. The thesis/project in technology will be the cul- mination of study for a Concentration in Educational Media.

68 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Corequisites: Visual Arts ¥ Coursework in painting, drawing, Master of Arts in ceramics, and printmaking Teaching ¥ Three upper-division credits in a 3-D studio area, if a 2-D studio major for Barbara Suplee bachelor’s degree [email protected] ¥ Three upper-division credits in a 2-D Chairperson, Director studio area, if a 3-D studio major for 215-717-6053 bachelor’s degree ¥ Introduction to computers, preferably The Master of Arts in Teaching in Visual including graphic applications (required Arts is a professional degree program incor- competency); minimum requirement of porating preparation for the Pennsylvania one course Instructional I Certificate to teach Art K-12, ¥ Basic Photography (required compe- including a student teaching practicum. tency), minimum requirement of one Additional coursework includes the history, course theory, and practice of art education. ¥Art History, 12 credits, including at Depending on the completeness of the stu- least one course in 20th century art, one dent’s background, the MAT Program course in non-Western art provides a flexible mix of professional edu- ¥ Introduction to Psychology or cation, advanced studio, and liberal arts Child and Adolescent Psychology study in a 42-credit program that may be ¥ Sociology or Cultural Anthropology completed in three full semesters or two (may be satisfied by GR 692) semesters and two summers. ¥ Aesthetics (may be satisfied by GR 691 MAT candidates must successfully com- or AE 549) plete the Instructional I PRAXIS tests by ¥Art Criticism the end of their first semester. Although the (may be satisfied by GR 691 or AE 549) program normally leads to certification ¥ Speech or Acting upon receiving the degree, all candidates (may be satisfied by AE 200 must, in addition, successfully complete all Presentation Skills) the required PRAXIS tests with satisfactory ¥ Six credits college-level math (prior to scores to qualify for State certification. This entry to the MAT program) unique degree program allows a student to ¥ Three credits college-level English obtain his/her certification requirements for composition (prior to entry to the MAT teaching while also earning a master’s program) degree recognized by potential employing ¥ Three credits college-level British or school districts and educational institutions. American literature (prior to entry into In many cases this enables the MAT recip- the MAT program) ient to qualify for a higher salary and often ¥ AE 201 Introduction to Visual Arts preferred placement. Education Applicants to the MAT Program should possess a BFA or BA degree in studio art with a minimum of 45 credits in studio and 12 credits in art history with a “B” or better cumulative average. They must have com- pleted six credits of college-level math, three credits of college-level English com- position and three credits of British or American literature prior to formal admis- sion to the professional education program. Applicants must also have satisfactorily completed the coursework and/or acquired competencies in fields relating to teacher certification described below. If any defi- ciencies exist, up to 16 corequisite credits may be completed concurrently with the degree and applied to elective requirements.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 69 Visual Arts Master of Arts in Teaching 42 credits

++ The Student Teaching Practicum consists of two Summer Credits 4.5-credit components: seven-week elementary field AE 550** Creative and Cognitive placement and a seven-week secondary field place- Development 3.0 ment. The two field placements may be taken over AE 602** History of Ideas in two semesters. If this option is elected, the full 15- week seminar that accompanies the Practicum must Art and Museum Education 3.0 be taken in both semesters. Summer Total 6.0 The Instructional I PRAXIS tests must be success- fully completed by the end of the first semester. Fall AE 599* Professional Writing Intensive 2.0 AE 606 Research in Education 3.0 AE 547+ Program Design and Methods: Elementary 3.0 AE 548+ Program Design and Methods: Middle and Secondary 3.0 AE 559+ Saturday Practicum 3.0 AE 552 The Art of Teaching 3.0 Unrestricted Electives 3.0 Fall Total 18.0* Spring AE 659++ Student Teaching Practicum 9.0 Art Education Technology Elective 3.0 Unrestricted Electives 3.0 AE 533+ Art and Inclusionary Education 3.0 Spring Total 18.0 Total Credits 42.0

Note: Courses to satisfy requirements for the MAT are offered at varying times, allowing graduate stu- dents’programs to be customized to their needs. * AE 599 is required of all students who do not pass the Art Education Department Writing Proficiency Exam. It must be taken and passed in the first semester of enrollment, and it does not fulfill any credit requirements for the MAT program. (See course description for additional information.) Those who score below 70 percent on the Professional Writing Proficiency Exam after com- pleting the Professional Writing course may not continue in the MAT program. Students enrolled in AE 599 must either pay a per-credit charge for all credits exceeding the 18-credit alottment, or must delay two credits of electives to a future semester. ** May be taken either the summer or fall semester. +These courses have a required field placement, and may be taken in either the fall or spring semester.

70 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Students frequently choose to use their including state-of-the-art computers, gal- Book Arts/ elective credits for internships in profes- leries, and the Greenfield Library, whose Printmaking sional laboratories and organizations and visual art collection (books, periodicals, are welcome as interns in many prestigious and slides) is one of the largest among the Master of Fine Arts conservation labs. nation’s visual art schools. Its special col- The MFA Program invites internationally lection of artists’ books provides a valuable Patricia M. Smith recognized visiting artists and critics to give teaching resource. [email protected] workshops, exhibit, speak about their work, Director address issues of entry into the profession, Academic Requirements 215-717-6490 and critique the work of students. A cumulative GPA of 3.0 is required for Distinguished artists are also frequently good standing and for graduation for grad- The MFA Program in Book Arts/ invited to produce books or prints in the uate students. A qualifying review at the Printmaking focuses on the book as a con- Borowsky Center for Publication Arts; stu- conclusion of the first year’s coursework is ceptual departure for art making and dents are welcome to observe or assist in the required to continue in the program. The personal expression. A two-year, 60-credit printing process. final semester culminates in a MFA Thesis program built upon the University’s long By the conclusion of the MFA program, Exhibition. Please refer to CAD Graduate tradition of involvement with the book and the student will have developed the concep- Programs for further information on grad- the printed image, it is open to qualified stu- tual and technical skills necessary to teach, uate requirements. dents with an undergraduate degree in print, design, publish, curate, work in the liberal arts, design, photography, print- fields of book conservation, or open an MFA in Book Arts/Printmaking making, or fine art. independent studio or business. Faculty Students explore the book as an art form that incorporates three-dimensional as well Specialized Facilities James Green as two-dimensional structure, time and Students have individual workstations sequence, text and image. It embraces both Master Lecturer where light tables, storage space, book BFA, Oberlin College the rich history of the book and the new presses, and paper cutters are available. processes and forms created by digital tech- MPh, Yale University They enjoy full use of the University’s well- MLS, Columbia University nology. Its concept of book arts includes equipped studios and specialized facilities, fine-press printing and illustrated texts, including studios for papermaking, non- visual and verbal narratives, and works that Lois M. Johnson silver photography, bookbinding, Professor push the idea of a book toward expressions water-based screenprinting, letterpress, as different as sculpture and multimedia. BSEd, University of North Dakota intaglio and relief printing, stone and paper MFA, University of Wisconsin-Madison Important features of the program are its lithography, and offset lithography. printmaking opportunities, its emphasis on Stationary vertical and portable book investigating traditional and modern book- Peter Kruty presses, a board shear, tabletop shears, and a Master Lecturer binding, and its encouragement of writing guillotine paper cutter are available for and the use of text. Its situation in an arts BA, University of Chicago bookbinding. Letterpress facilities include MLS, MA, University of Alabama university gives the students a unique four Vandercook proof presses, a pho- opportunity to draw on other art areasÐpho- topolymer platemaking system, and over tography, graphic design, multimedia, Hedi Kyle 400 drawers of monotype, foundry, and Adjunct Associate Professor crafts, and sculpture, among others. wood type. Five etching presses and four The course of study, which is individually Diploma, Werk-Kunstschule, Wiesbaden, lithography presses are available for Germany tailored to each student’s interests and expe- printing. Besides an ATF-Davidson offset rience, encourages the development of new press in the lithography pressroom, students concepts, while offering proficiency in both Carol Moore have access to the Borowsky Center for Associate Professor traditional and contemporary processes. The Publication Arts, equipped with a core program of bookbinding, offset lithog- BFA, MFA, Tyler School of Art, Heidelberg KORS offset press and a full Temple University raphy, and letterpress courses is augmented darkroom for experimental and production by investigations into related fields of study printing. An imaging lab houses a darkroom in studio arts and colloquia and seminars on Mary Phelan equipped with enlargers, horizontal and ver- Associate Professor art and the book. Courses in the first tical copy-cameras, and a state-of-the-art semester intersect, reflecting the integration BS, College of Saint Rose filmsetting system integrated with the MA, University of Wisconsin-Madison of skills and concepts integral to book arts. University’s Macintosh computer labs. Through both years, students are encour- In the graduate Book Arts/Printmaking Winifred Radolan aged to work on their writing. The second resource room, students can find book struc- year concentrates on the MFA Thesis Senior Lecturer ture models, books, journals, and BS, Moore College of Art Exhibition under the supervision of an advi- newsletters relating to book arts and print- sory committee. making, and professional materials on book artists, presses, and programs. Students also have access to many of the University’s other extensive facilities,

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 71 Patricia M. Smith Book Arts/Printmaking Assistant Professor Master of Fine Arts 60 credits BA, Immaculata College MA, Philadelphia College of Art Yoshida Hanga Academy, Tokyo Year One Credits Fall Lori Spencer PR 600 A Colloquium A: Adjunct Assistant Professor Text and Image 1.5 BFA, State University of New York, PR 610 A Book Arts Studio; Purchase Color Mark 3.0 MFA, The University of the Arts PR 612 A* Book Arts Studio 4.5 Lynne Sures PR 623 A Bookbinding 1.5 Master Lecturer PR 626* Offset Lithography 1.5 BA, University of Maryland Free Electives 3.0 MFA, University of Maryland Fall Total 15.0 Spring Susan T. Viguers PR 600 B Colloquium B: Professor History of the Book 1.5 BA,Bryn Mawr College PR 610 B Book Arts Studio; MA, University of North Carolina at Color Mark 3.0 Chapel Hill PR 612 B* Book Arts Studio 3.0 PhD, Bryn Mawr College PR 623 B Bookbinding 1.5 GR 692 University Seminar: Susan White Art and Design in Society 3.0 Lecturer BFA, Moore College of Art Free Electives 3.0 MFA, The University of the Arts Spring Total: 15.0 First Year Total 30.0

Year Two Credits Fall PR 700 A Colloquium: Professional Practices 1.5 PR 710 A MFA Thesis Studio 3.0 PR 711 A MFA Thesis Studio: Thesis Exhibition 3.0 PR 723 A Bookbinding 1.5 GR 691 University Seminar: Structure and Metaphor 3.0 Free Electives 3.0 Fall Total: 15.0 Spring PR 700 B Colloquium: Professional Practices 1.5 PR 710 B MFA Thesis Studio 3.0 PR 711 B MFA Thesis Studio: Thesis Exhibition 3.0 PR 723 B Bookbinding 1.5 GR 791 University Seminar: Criticism 3.0 Free Electives 3.0 Spring Total: 15.0 Second Year Total 30.0

Total Credits 60.0

* These courses may be taken for variable credit.

72 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Studios and Facilities MFA in Ceramics, Painting, Ceramics, During residence at the University, or Sculpture Faculty Painting, or summer MFA students enjoy access to well- Tom Csaszar Sculpture equipped studios and facilities that support Senior Lecturer work undertaken in each discipline. These BFA, University of Pennsylvania Master of Fine Arts include: dedicated painting studios, three major gas kilns with 90, 40, and 30 cubic A. P. Gorny Low Residency Program foot capacity, numerous electric kilns, wood Adjunct Associate Professor and metal shops, carving studios, a forge, BFA, The State University of New York Carol Moore and foundry. Students are expected to locate at Buffalo [email protected] off-campus studio space for work under- Institute dell’Arte, Siena, Italy Director taken during the fall and spring independent MFA, Yale University School of Art 215-717-6106 studio semesters. In addition, students have access to the University’s extensive facilities Jeanne Jaffe These studio-based Master of Fine Arts that include the Greenfield Library, whose Professor degree programs are intended to broaden visual arts collection ranks among the BFA, Tyler School of Art, and advance the conceptual, critical, histor- largest of the nation’s visual art schools; Temple University ical, and practical knowledge needed to state-of-the-art academic computing labora- MFA, New York State College of sustain a contemporary studio. The pro- tories; numerous galleries and performance Ceramics at Alfred University grams have been designed to meet the needs spaces; and the more than 100 museums and of artists holding BFA or BA degrees who cultural institutions that comprise the Mark Lueders are interested in pursuing an MFA in either extended campus of the city of Philadelphia. Lecturer Ceramics, Painting, or Sculpture within a The cultural resources of New York and BFA, Miami University time frame that accommodates their Washington, D.C., are only hours away. MFA, University of Pennsylvania employment or academic year schedule. Students will be challenged by the broadly Departing from the traditional semester diverse aesthetic and critical opinions of dis- Carol Moore format, students enter this three-year pro- tinguished studio faculty and noted visiting Associate Professor gram in summer and complete the major artists and critics who are invited to partici- BFA, MFA, Tyler School of Art, portion of their work during three annual pate in the program each summer. Temple University eight-week summer residencies of intensive, Recent visiting artists and critics have individually focused studio experience. In included: Siah Armajani, Barry Bartlett, Jose Eileen Neff addition to exploration in the major, stu- Bedia, Paul Bloodgood, Tom Butter, William Adjunct Professor dents pursue interdisciplinary investigations Daley, Arthur Danto, Heidi Fasnacht, Sharon BA,Temple University in studio topics common to each discipline Horvath, Komar and Melamid, Janet Koplos, BFA, Philadelphia College of Art and address contemporary critical issues Sean Landers, Winifred Lutz, Dominique MFA, Tyler School of Art, and methodology in University graduate Nahas, Thomas Nozkowski, Lisa Orr, Sheila Temple University seminars. Pepe, Howardena Pindell, Elaine Reichek, During the fall and spring semesters, stu- Kathy Rose, Sandy Skoglund, Robert Storr, Gerald Nichols dents complete independent studios, writing Stephen Tanis, George Trakas, Ursula Von Professor and research projects, and independent Rydingsvard, and Leslie Wayne. Diploma, Cleveland Institute of Art thesis preparations. Regional students main- Summer MFA candidates are expected to MFA, University of Pennsylvania tain contact with studio faculty and present follow the curriculum as structured in order studio work at specific intervals throughout to complete the program within three years Robin Rice the off-campus semester and at final cri- and present a final thesis exhibition fol- Adjunct Assistant Professor tiques held at the end of the fall and spring lowing the completion of the third summer. BFA, Ohio Wesleyan University semesters. Non-regional students meet with MA, University of Missouri assigned studio mentors in their geographic Vermont Studio Center region for concurrent periodic and final cri- Graduate Study Exchange Jennie Shanker tiques of in-progress and completed work. The University of the Arts has a special Lecturer Off-campus writing and research projects relationship with the Vermont Studio Center BFA, MAT, The University of the Arts are completed via mail or e-mail communi- in Johnson, Vermont. Summer Master of MFA, Yale University cation with seminar faculty. A final thesis Fine Arts candidates who have completed review and exhibition is held following the first year in the SUMFA program may completion of the third summer. apply to attend VSC during the off-campus fall and spring semesters by contacting the Director of the Summer MFA Programs. Scholarships received during the summer session are not transferable for tuition pay- ment during the off-campus fall and spring semesters.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 73 Ceramics, Painting, or Sculpture Master of Fine Arts 60 credits

Year One Credits Year Two Credits Year Three Credits Summer I Summer II Summer III XX 610 Major Studio in Ceramics, XX 611 Major Studio in Ceramics, XX 710 Major Studio in Ceramics, Painting, or Sculpture 6 .0 Painting, or Sculpture 6.0 Painting, or Sculpture 6.0 FA 611 Graduate Drawing 3.0 Elective* 3.0 FA 612 Professional Practices 3.0 Choose one of the following two: Choose one of the following two: GR 791 University Seminar: GR 691 University Seminar: GR 691 Structure and Metaphor or 3.0 Criticism 3.0 Structure and Metaphor 3.0 GR 692 University Seminar: Summer Total: 12.0 GR 692 University Seminar: Art and Design in Society 3.0 Fall III Art and Design in Society 3.0 Summer Total: 12.0 FA 795 Thesis Exhibition 6.0 Summer Total: 12.0 Fall II Fall Total: 6.0 Fall I FA 781 Thesis Writing Project I in Ceramics, Third Year Total 18.0 FA 691 Independent Studio I in Ceramics, Painting, or Sculpture 1.5 Painting, or Sculpture 3.0 FA 793 Thesis Preparation I 3.0 Total Credits 60.0 FA 695 Independent Writing Fall Total: 4.5 Project I 1.5 Spring II Fall Total: 4.5 FA 782 Thesis Writing Project II in Ceramics, Note: Prefixes (XX) for the major studio courses Spring I Painting, or Sculpture 1.5 reflect the student’s area of concentration: Ceramics (CR), Painting (PT), or Sculpture (SC). FA 692 Independent Studio II in Ceramics, FA 794 Thesis Preparation II 3.0 Painting, or Sculpture 3.0 Spring Total: 4.5 FA 696 Independent Writing Second Year Total 21.0 Project II 1.5 Spring Total: 4.5 First Year Total 21.0 *Recommended Electives: FA 61O Studio Topic AE 602 History of Ideas in Art and Museum Education HU 448 A American Art Since 1945 HU 448 B European Art Since 1945 HU 456 Major Artists

74 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 We are an interdisciplinary program, so Master of Industrial Design Industrial Design we welcome applicants from diverse fields Faculty Master of Industrial such as the fine arts, architecture, sociology, law, business, engineering, and information David Comberg Design technologies. What unites the students is Adjunct Associate Professor their enthusiasm for design and material Jamer Hunt BFA, Massachusetts College of Art culture, as well as an interest in the social MFA, Yale School of Art [email protected] impact of design on our society. All candi- Director dates must hold a bachelor’s degree (or 215-717-6253 Anthony Guido equivalent). In addition, in order to be Associate Professor accepted at the graduate level, all qualified BSID, The Ohio State University The Master’s Program in Industrial applicants must demonstrate some form of Design is a graduate laboratory for postin- professional involvement in a design-related Jamer Hunt dustrial design. Students and faculty are field. Each candidate is then carefully actively exploring how to design for new Director MID, Associate Professor selected to assure a comprehensive balance BA,Brown University social conditions in which behavioral, mate- of disciplines in the program. rial, technological, and natural landscapes PhD in Cultural Anthropology, Rice University are shifting. We are committed to devel- Specialized Facilities oping new models of design practice that In the graduate design studio, each stu- are multidisciplinary, collaborative, and Jonas Milder dent is provided with an Apple computer for team-based. We stress process, with an Assistant Professor his/her desktop, access to the University emphasis on research, conceptualization, BID, Fachhochschule für Gestaltung, network, and a powerful suite of software; communication, and appropriate form- Germany there are Windows NT machines, as well, giving. MID, Hochschule der Künste, Germany for advanced 3-D modeling. The department The program itself is a two-year, 60- also provides access to digital cameras and credit curriculum consisting of studio, Slavko Milekic projectors for process documentation and methods, and seminar courses. The cur- Associate Professor presentation. riculum is project-based, which means that MD, Belgrade University, Yugoslavia each semester, course content is integrated MSc, PhD, University of Connecticut around studio-based projects. Projects range from the development of new urban indus- Barent Roth tries to incubating independent publishing Senior Lecturer labels for hard and soft design. By pro- BSID, University of Illinois viding research proposals, future studies, MID, The University of the Arts and case studies, we are promoting a new, more proactive role for design education. Marek Walczak Because design is a collaborative profes- Adjunct Professor sion, most studio projects will be RIBA I and II, Architecture Association, team-based. During the first and third London semesters of study, first-year students will work with second-year students in a shared studio. Semester two is more individually oriented. The final semester of the two-year program is devoted to a master’s thesis in which the candidate will work more inde- pendently with a group of internal faculty and/or outside professionals to develop a thesis project that must advance the candi- date’s chosen field of study. Like the program itself, the faculty repre- sent a wide range of approaches to the practice of design. This means that students have access to currently practicing design professionals with backgrounds in fields ranging from architecture, graphic design, cultural anthropology, and psychology to industrial, systems and environmental design. The Industrial Design Department thus offers a unique core faculty group who share a common philosophy and commit- ment to the design process.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 75 Industrial Design Master of Industrial Design 60 credits

Year One Credits Fall ID 600 ID Seminar: Concepts and Contexts 3.0 ID 601 Graduate Design Studio 6.0 ID 620 Advanced Design Methods 3.0 GR 691 University Seminar: Structure and Metaphor 3.0 Fall Total 15.0 Spring ID 710 Advanced Project Tutorial I 6.0 ID 627 Human Factors: Interactivity 3.0 GR 692 University Seminar: Art and Design in Society 3.0 Elective 3.0 Spring Total 15.0 First Year Total 30.0

Year Two Fall ID 700 ID Seminar: Professional Development 3.0 ID 602 Advanced Design Studio 6.0 ID 625 Advanced Computer Applications 3.0 Elective 3.0 Fall Total 15.0 Spring ID 711 Advanced Project Tutorial II 6.0 ID 749 Master’s Thesis Documentation 6.0 Elective 3.0 Spring Total 15.0 Second Year Total 30.0

Total Credits 60.0

In addition to required courses, students take elec- tive courses that enable them to pursue their spe- cific interest, as well as overcome deficiencies in their design preparation. In certain cases, particu- larly 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 and may not apply towards degree requirements.

76 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Museum Studies Faculty Aaron Goldblatt Museum Studies Senior Lecturer Ed Bedno BFA, Philadelphia College of Art Polly McKenna-Cress Adjunct Professor MFA, Tyler School of Art, [email protected] BFA, Art Institute of Chicago Temple University Chairperson MS/GD, Institute of Design, 215-717-6328 Illinois Institute of Technology Jamer Hunt Assistant Professor The Museum Studies Department pro- Jane Bedno BA,Brown University vides students with the skills and Professor PhD, Rice University knowledge necessary to promote and BA, Roosevelt University enhance the relationship between museums JD, College of William and Mary Polly McKenna-Cress and the public. In all three graduate Associate Professor museum programs, students take core Gerard Brown BFA, Rhode Island School of Design courses addressing the character of Lecturer MFA, The University of the Arts museums, the nature of museum audiences, BFA, Boston University School of current museum practice, and the theory Fine Arts Janet Kamien underlying museum practice. MFA, School of the Art Institute Senior Lecturer Lecture courses, seminars, and studio of Chicago BFA, Boston University courses allow students to understand the MED, MFA, Lesley University demands of museum practice, to understand Allegra Burnette past and current issues in the profession, to Senior Lecturer Wm. Frank Mitchell address the future needs of museums, to BA, Dartmouth College Assistant Professor meet and talk with professionals in the field, MFA, The University of the Arts AB, Bowdoin College and to acquire hands-on skills in the many MA, Yale University areas of museum practice. Eddie Chernoff MA, University of Michigan Students specialize in the areas of Master Lecturer PhD, University of Michigan museum exhibition or museum education, BA, Rutgers University or pursue a more general course of study MEd, Temple University Carol Moore focusing on the interface between the Associate Professor museum and the public. Most museum Susan Clarke-Plumb BFA, MFA, Tyler School of Art, studies courses are open to all museum Adjunct Assistant Professor Temple University studies majors, and some are open to stu- BA, Mary Washington College, dents from other departments who are The University of Virginia Danielle Rice interested in museum practice and profes- MED, Pennsylvania State University Master Lecturer sions. A wide range of concepts, MED, Harvard University BA,Wellesley College experiences, and approaches are encoun- PhD, Pennsylvania State University MPh, PhD, Yale University tered, including hands-on visitor studies and on-site internships and practicums; Tom Csaszar Portia Hamilton Sperr computer skills are developed for use in Senior Lecturer Adjunct Associate Professor design, publication, museum record- BFA, University of Pennsylvania Diploma in Pedagogy, Assoc. keeping, interactive museum media, and Montessori International museum outreach via the Web. Alice A. Dommert BA, Barnard College Museum Studies graduates find career Senior Lecturer opportunities as museum educators, cre- BS, Architecture, Louisiana State ators of museum exhibitions, museum University digital media specialists, program special- MFA, The University of the Arts ists, and in the ranks of museum administration dealing with the public: Barry Dornfeld directorships, collections management and Associate Professor display, public relations, development, and BA,Tufts University related activities in museums, historic sites, MA, PhD, University of Pennsylvania zoos, aquariums, botanic gardens, and spe- cialist consultancies. Anne El-Omami Associate Professor BFA, BA, University of Nebraska, Lincoln MA, University of Nebraska

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 77 Museum Communication participate in lectures, seminars, workshops, Museum Master of Arts and study visits to appropriate museums, historic sites, galleries, and government cul- Communication Polly McKenna-Cress tural agencies. All courses in the department Master of Arts 45 credits [email protected] welcome visiting scholars and museum pro- Chairperson fessionals to give lectures and hold Year One Credits 215-717-6328 discussion groups on aspects of museum Fall practice. The MA in Museum Communication is a The department of Electronic Media, the MS 501 Museum Seminar: course of study in the contemporary theory Master of Industrial Design program, and The Museum 3.0 and practice of museum work. Museum pro- the College of Media and Communication MS 508 The Museum Audience 3.0 fessionals seeking a graduate degree in contribute to the graduate student’s educa- MS 600 Museology 3.0 museum studies for professional advance- tion through inter-departmental coursework, GR 691 University Seminar: ment, and museum volunteers who seek workshops, seminars, and interdisciplinary Structure and Metaphor 3.0 professional credentials to make the transi- special projects. Elective* 3.0 tion into professional museum work can Applicants to the Master of Arts in Fall Total 15.0 acquire the skills, knowledge, and practical Museum Communication should possess a training in dealing with the public sector, BFA, BA, or BS degree, demonstrated work Spring with responsibilities that include museum experience in the museum field or in related MS 601 Issues in Museums Seminar 3.0 publications, public relations, membership, institutions/consultancies, or discipline- MS 740 Thesis Research 3.0 development, record-keeping, outreach activ- based training, and the intention of utilizing MS 749 A Thesis Development 1.5 ities including Internet presence, and visitor this specialized training in a museum con- Elective* 3.0 services. text, and basic word processing and Internet Elective* 3.0 Organized within the traditional academic research skills. GR 692 University Seminar: semester framework, with some short, inten- sive one- and two-week-long sessions during Art and Design in Society 3.0 the winter and summer academic breaks, and Spring Total 16.5 annual international museum issues semi- First Year Total 33.0 nars, the Department of Museum Studies prepares those who seek careers as collec- Year Two tions managers, exhibition developers, Summer educators, and media and public affairs spe- cialists. International museum professionals MS 759 Museum Internship 3.0 may further their careers through the acqui- Summer Total 3.0 sition of academic credentials and through a Fall broader perspective and knowledge of cur- rent museum practices acquired in courses, MS 602 Museum Governance: Legal Issues, seminars, special museum placements, Ethics in Museums 3.0 internships, and a thesis. Course content and MS 749 B Thesis Development 1.5 design, which bridge the academic and the Elective* 3.0 professional, recognize the growing need for Elective* 3.0 specialized museum training and preferences Fall Total 10.5 in a competitive job market for those with Second Year Total 13.5 both graduate degrees and museum studies training. Graduates work in museums of Total Credits 45.0 anthropology, archaeology, fine art, history, natural history, science centers, zoos, arbore- tums, and national parks. Others find * Nine credit hours of electives must be in Museum employment in government agencies, histor- Studies. ical societies, historic sites and houses, and with private and corporate collections and foundations. Full-time MA students undertake a three- semester academic course of study, and a 12-week (240-hour) internship placement. Those students studying for the MA in Museum Communication conclude their degree program through the submission of a written thesis, thesis defense, and examination. During each 15-week semester, students

78 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Museum Education separately or in conjunction with another Museum Education Master of Arts master’s program at The University of the Arts. The core includes courses from the Master of Arts 36 credits Anne El-Omami museum studies core and may also include [email protected] the Graduate Museum Project and Year One Credits Director Internship with special approval. This series Fall 215-717-6051 or 717-6050 of courses may be combined with the Master of Arts in Teaching in the Visual AE 606 Research in Education: The Master of Arts in Museum Education Arts, the Master of Arts in Art Education, or Methods and Trends 3.0 is a concentrated program focused on the the MFA in Museum Exhibition Planning GR 691 University Seminar: development and implementation of appro- and Design. Structure and Metaphor 3.0 priate pedagogical practices and AE 550 Creative and Cognitive critical/interpretive skills for communi- Development 3.0 cating to the public about culture and the MS 510 Museum Education arts. Coursework comprises three distinct Practicum 3.0 areas: a broad education core addressing MS 508 The Museum Audience 3.0 theory and methods, a concentration in MS 658 Museum Education museum studies and practices, and a profes- Internship 3.0 sional core including research and an internship with a cooperating museum. Fall Total 18.0 Applicants should have had a core of at Spring least 40 credits in the arts, liberal arts, MS 622 Media for Museum and/or communications, with a minimum of Communication 3.0 18 credits in art history (or 12 credits in art MS 615 Educational Programming history and six credits in anthropology or for Museums and communications). This degree is an appro- Alternative Sites 3.0 priate option for those with a strong commitment to providing educational pro- MS 648 Graduate Museum Project 3.0 gramming within a museum context or MS 658 Museum Education alternative site, as well as for teachers who Internship 3.0 wish a concentration in museum education Choose one of the following two: so they may utilize museum resources more MS 501 Museum Seminar: effectively in the classroom. The Museum 3.0 Museums and galleries worldwide are MS 600 Museology 3.0 becoming more dependent upon their audi- GR 692 University Seminar: ences for support. The role of museums is Art and Design in Society 3.0 changing to meet audience demands, Spring Total 18.0 including expectations for more relevant and accessible public educational program- Total Credits 36.0 ming to promote cultural knowledge and interests. This growing trend has created a Additional elective courses are encouraged in greater demand for well-trained profes- interactive media, multicultural learning arts, sionals with special knowledge and design for interdisciplinary learning, history of expertise in planning and implementing ideas in art and museum education, and media for museum programs. Additionally, current museum communication. educational theory and methodology embrace the inclusion of art history, criti- cism, and aesthetics as critical components of the arts education curriculum, all areas heavily dependent upon museums for exem- plary resources and reference. The MA in Museum Education focuses on a wide variety of museums and institutions with similar missions and operations, and pre- pares educators to function within the changing context of contemporary schools, museums, and related institutions. The MA in Museum Education may be completed in two semesters and a summer or in three semesters. The Museum Studies core may be taken

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 79 Museum Exhibition to develop the necessary background in Specialized Facilities design. Students from non-design, non-art The graduate studios in Museum Planning and Design backgrounds are also encouraged to apply. Exhibition Planning and Design feature Master of Fine Arts The first year provides a basic under- direct student access to a Computer-Aided Polly McKenna-Cress standing of the exhibition process, with the Design Center. The Computer-Aided Design [email protected] first semester focused on conceptual develop- Facility and the Academic Computing labora- Director ment, planning, systems, and intellectual tories are completely equipped computer 215-717-6328 analysis of problems, and the second on the centers dedicated to drafting, rendering, practical implementation of concepts and on desktop publishing, computer-aided graphic Recognized formally by the American understanding materials and methods of exhi- design, multimedia, and illustration. Students Association of Museums since 1981, the field bition design and production. The second get installation experience through the of exhibition planning and design has year is dedicated to practice of skills learned University galleries and regional institutions. become a demanding, fast-growing profes- during the first year, and practical exposure sion as museums respond to the demand for to actual exhibition development practice in exhibitions addressed to public needs and museums and museum consultancies. interests. With the cooperation of a group of Activities during the final semester are major regional museums, following the focused primarily on thesis development and guidelines established by N.A.M.E. (National completion. Association for Museum Exhibition), The University of the Arts offers a two-year, 60- credit Master of Fine Arts degree that Museum Exhibition prepares students for professional careers in Planning and Design the development and design of exhibits for Master of Fine Arts 60 credits museums and other interpretive centers, focusing on methods of presentation for col- lections, while exploring the full range of Year One Credits Year Two Credits exhibition communication and methodology. Fall Summer Representatives of cooperating museums and the University faculty offer a curriculum MS 501 Museum Seminar: MS 759 Museum Internship* 3.0 that addresses the conceptualization, The Museum 3.0 Summer Total 3.0 MS 610 A Museum Exhibition research, organization, design, and produc- Fall Design Studio 6.0 tion of museum exhibits and educational MS 710 Museum Exhibition MS 620 A Museum Graphics 1.5 presentations, utilizing a variety of tech- Design Studio 6 .0 MS 623 A Exhibition Materials niques and media. It also explores exhibit MS 508 The Museum Audience 3.0 and Methods 1.5 programming, evaluation, and management MS 749 A Thesis Development 3.0 methods applicable in a wide range of Elective 3.0 GR 691 University Seminar: museum situations. Visiting experts teach Fall Total 15.0 Structure and Metaphor 3.0 many aspects of museum presentation, edu- Spring cation, and management, and students make Fall Total 15.0 formal visits to design departments, produc- MS 502 Museum Seminar: Spring The Exhibition 3.0 tion shops, galleries, exhibits, and programs MS 622 Media for Museum MS 610 B Museum Exhibition in numerous museums, service providers, and Communication 3.0 Design Studio 6.0 consultancies in Philadelphia, the Mid- MS 749 B Thesis Development 3.0 Atlantic Region, Washington, D.C., and New MS 620 B Museum Lighting GR 791 University Seminar: York. and Color 1.5 Criticism 3.0 Students undertake a thesis project and a MS 623 B Exhibition Materials Elective 3.0 supervised museum internship related to their and Methods 1.5 career interests during the second year of the GR 692 University Seminar: Spring Total 12.0 program. To preserve the intimate contact Art and Design in Society 3.0 Second Year Total 30.0 with museum professionals and to guarantee Spring Total 15.0 participants studio facilities, the program is Total Credis 60.0 limited to nine entrants per year. First Year Total 30.0 Most candidates for this program will have previously completed a baccalaureate degree * Students with at least six months of direct exhibition- in industrial, graphic, interior, or architectural related experience in a museum, equivalent institution, design, and demonstrate an acceptable level or a museum consultancy may substitute one three- of professional accomplishment through a hour elective for the internship requirement. portfolio or another appropriate means. Alternatively, they may seek admission with a baccalaureate in a discipline related to a particular career direction, and take courses

80 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Graduate Seminars The graduate seminar serves as a lively, interdisciplinary forum that brings together students engaged in discreet graduate pro- grams to examine relationships between contemporary visual culture and historic ideas about art and design. Recognizing Philadelphia as a setting and laboratory for the development of collaborative projects and career initiatives, students in the seminar can discuss and apply ideas being explored in their own fields of study in order to identify and cultivate connections between and beyond their respective areas of study. In practice, graduate seminar study empha- sizes the development of writing, research, and critical skills to aid students in the com- munication and documentation of their work and ideas — both in the major, as it pertains to their specific explorations, and in the wider contemporary context of art and design issues. The seminar experience offers stu- dents the opportunity to develop presentation skills by maximizing the use of multimedia applications for presentations of their research results. Each graduate program in The College of Art and Design offers a selection of semi- nars designed to inform the direction of the major curriculum. Seminar course listings, Structure and Metaphor, Art and Society, and Criticism are described in the course descrip- tions, and are listed as part of each graduate program’s curriculum.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 81

College of Performing Arts

Undergraduate and Graduate Course Catalog 2003 • 2004 College of Performing Arts Major Areas of Study All students are assigned to a faculty advisor. Lists are posted in each of the schools’ offices during the first week of the academic Richard J. Lawn, Dean year. Appointments are made at the mutual convenience of the stu- [email protected] dent and the faculty advisor. 215-717-6126 Students should feel free to see their advisor at any time con- Marianne Mele, Assistant to the Dean cerning problems they may encounter. [email protected] 215-717-6127 School of Dance Undergraduate Programs The College of Performing Arts (CPA) is comprised of the Schools Bachelor of Fine Arts (BFA) in Dance of Dance, Music, and Theater Arts. Its curricula combine the per- Bachelor of Fine Arts (BFA) in Dance Education formance emphasis of the traditional conservatory, stressing Certificate in Dance (two-year program) individualized training, practice, and discipline, with a liberal arts Dance Majors education. Ballet Founded in 1870 as the Philadelphia Musical Academy, and Jazz/Theater Dance merged with the Philadelphia Conservatory of Music in 1962, the Modern Dance College has long been regarded as one of America’s foremost profes- Dance Education sional schools of higher education. Many of its early graduates and faculty were members and founders of the Philadelphia Orchestra School of Music when it was formed in 1900. Undergraduate Programs In 1976, the institution was renamed the Philadelphia College of Bachelor of Music (BM in Jazz Studies) in Composition the Performing Arts, thereby signaling its intention to expand its pro- Bachelor of Music (BM in Jazz Studies) in Instrumental gram to include all three of the performing arts disciplinesÐMusic, Performance Dance, and Theater. In 1977, The Philadelphia Dance Academy Bachelor of Music (BM in Jazz Studies) in Vocal Performance joined the College to become the School of Dance. Founded in 1947, Diploma in Jazz Studies The Philadelphia Dance Academy was one of the foremost conserva- Certificate in Jazz Studies (two-year program) tories of dance in the nation and one of the first three institutions in Graduate Programs the country to grant a degree in dance. The School of Theater was ini- Master of Arts in Teaching (MAT), Music Education tiated in 1983. Master of Music (MM), Jazz Studies The College of Performing Arts thus became Pennsylvania’s first and only independent college dedicated exclusively to the performing Areas of Concentration arts, and one of the first of its kind in the United States. Its philos- Flute ophy is founded on the principle that there is a common bond among Clarinet artists, whatever their discipline, and that artists must interact with Saxophone each other for their inspiration and growth. Indeed, many of the Woodwinds College’s students have developed interdisciplinary careers that Trumpet require familiarity with all the performing arts, as well as the visual Trombone and media arts. Tuba Guitar Electric and/or Upright Bass Violin Cello Percussion Drums Piano Voice Composition School of Theater Arts Bachelor of Fine Arts (BFA) in Theater Arts Majors Acting Applied Theater Arts Musical Theater Credit-Hour Ratio Please refer to the course descriptions for specific information.

84 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 CPA Minors The College of Performing Arts offers minors that enable a stu- dent to focus on a specific discipline through organized electives. Students wishing to include a minor are governed by the fol- lowing guidelines: 1. Students must meet eligibility requirements, which may include a satisfactory grade point average, prerequisites, and depart- mental portfolio review. 2. Intent to complete a minor is declared by filing the completed Minor Declaration Form with the Office of the Registrar. The forms are available in the Office of the Registrar. 3. A student may not major and minor in the same program, except where indicated. 4. Courses applied to the minor may not also be applied towards the major program requirements. 5. All minors require a minimum of 15 credits, with the exception of E-Music for Music majors. Generally, no substitutions to the minor requirements are allowed. In exceptional situations where substitutions are granted, they must have the approval of both the major and minor program advisors. 6. The minor advisor must approve all courses taken as part of a minor. 7. A student pursuing a minor may be required to complete more than the minimum number of credits required to complete the under- graduate degree in order to also complete the minor.

E-Music Minor, Multimedia/Music Department The minor in E-Music offers students majoring in both Multimedia and Music an opportunity to create electronic and experimental music, to develop skills that allow them to produce, package and distribute music by taking advantage of digital tech- nology, and to design electronic instrumental interfaces. The minor prepares students for a variety of highly entrepreneurial careers ranging from entertainment and product development to creative and production work in the recording and musical fields. This minor is only available to students majoring in Multimedia or Music. Please note that this minor reqiures 17 credits for Music majors.

MU 306 History of Rock & Experimental Music 3.0 credits MU 413 A Recording 2.0 MM 370 E-Music Thesis Project 3.0

For Multimedia Majors MU 111 A/B Composition/Non-Majors 2.0 MM 440 Innovative Interfaces 3.0 MU 130 A/B Piano for Non-Majors (1/1) 2.0

For Music Majors MM 110 Visual Concepts I 3.0 MM 121 Introduction to Interface Design 3.0 One of the following: MM 221 Interactive Studio I 3.0 MM 222 Interactive Studio II 3.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 85 CPA Full- and Part-Time Ronen Koresh Connie Vandarakis Faculty Adjunct Assistant Professor Assistant Professor BS, Northern Illinois University Donald Lunsford Doctor of Education candidate, School of Dance BFA, University of the Arts Temple University Kim Bears-Bailey Molly Misgalla School of Music Assistant Professor Assistant Professor BFA, The University of the Arts BA, Point Park College Paul Adkins Senior Lecturer Ninotchka Bennahum Brie Neff BS, West Virginia University BA,Swarthmore College Lecturer Professional Certificate, PhD, New York University BFA, Temple University Academy of Vocal Arts

Peter Bertini R. Jeannine Osayande George Akerley Associate Professor Adjunct Associate Professor Adjunct Assistant Professor BS, State University of New York, BM, Philadelphia Musical Academy Brockport Andrew Pap MM, Philadelphia College of MFA, Philadelphia College of Associate Professor Performing Arts Performing Arts Baccalaureat Diploma, Scoala de Coreogrefie, Cluj, Romania Carl Allen Jennifer Binford Dance Education Degree, Certificate of Senior Lecturer Assistant Professor Professor of Ballet, Ministry of Culture BM, William Paterson University BS, Utah State University and Education, Bucharest, Romania MFA, The University of Utah Steve Beskrone LaVaughn Robinson Senior Lecturer Wayne David Adjunct Professor Assistant Professor John Blake BFA, The University of the Arts Brian Sanders Adjunct Associate Professor BFA, The University of the Arts BM, West Virginia State University Manfred Fischbeck Adjunct Associate Professor Pearl Schaeffer Robert Brosh BA Equivalent - Freie Universitat Berlin Adjunct Associate Professor Adjunct Assistant Professor BS, Drexel University BA, Glassboro State College Lisa Fox MFA, Philadelphia College of MA, DA, New York University Senior Lecturer Performing Arts BFA, University of Colorado Brian Brown Jon Sherman Senior Lecturer Susan Glazer Adjunct Assistant Professor BM, MM, Juilliard Adjunct Professor BS, Temple University BA, American University Jimmy Bruno MA, Temple University Carole Sklaroff Adjunct Assistant Professor Adjunct Associate Professor Theresa Greenland Donald Chittum Senior Lecturer Suzanne Slenn Professor BS, West Chester University Adjunct Associate Professor BM, MM, DM, Philadelphia MM, Temple University Conservatory of Music Faye Snow Curt Haworth Adjunct Associate Professor Andrea Clearfield BFA, University of California BS, West Chester State College Adjunct Assistant Professor MFA, Tisch, New York University MA, George Washington University BA, Muhlenberg College MM, Philadelphia College of Nancy Heller Eva Szabo Performing Arts Professor Adjunct Assistant Professor DMA, Temple University BA, Middlebury College Diploma, Ballet Institute, Budapest, MA, PhD, Rutgers University Hungary Meg Clifton Lecturer Nancy Kantra Elise Tropea BM, MM, University of the Arts BA, University of Colorado Adjunct Associate Professor MFA, Philadelphia College of BS, Bennington College Performing Arts MS, Hahnemann Medical College

86 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Norman David Don Glanden Jeff Jarvis Adjunct Associate Professor Assistant Professor Senior Lecturer BA, McGill University BS, West Chester University MM, New England Conservatory BM, North Texas University Micah Jones DMA, Temple University MM, Rutgers University Assistant Professor BM, Temple University Marc Dicciani Janice Goltz MM, The University of the Arts Adjunct Professor Adjunct Assistant Professor BM, Philadelphia Musical Academy BM, Philadelphia Musical Academy Patrick Jones BME, Philadelphia College of Associate Professor Annette DiMedio Performing Arts BS, West Chester University Professor MME, Temple University Diploma of Fine Arts, BA,Swarthmore College University of Calgary MM, Temple University Robert Goltz MA, George Mason University PhD, Bryn Mawr College Senior Lecturer PhD, Pennsylvania State University BS, West Chester University Samuel Dockery MA, Beaver College Michael Kennedy Senior Lecturer Senior Lecturer BM, Philadelphia College of Steven Goodsell BM, MM, The University of the Arts Performing Arts Lecturer BS, State University of New York, Ronald Kerber John Dulik Fredonia Associate Professor Lecturer BM, Philadelphia College of BM, Philadelphia Musical Academy Theodore Greenberg Performing Arts MM, DMA, Temple University Senior Lecturer BM, Philadelphia College of Jeffrey Kern Craig Ebner Performing Arts Assistant Professor Senior Lecturer BS, Lebanon Valley College BM, Hartt School of Music, Orlando Haddad MM, University of Michigan University of Hartford Senior Lecturer BM, North Carolina School for the Arts John Knebl Charles Fambrough MS, Drexel University Adjunct Assistant Professor Senior Lecturer BM, BME, Philadelphia Musical Tim Hagans Academy Chris Farr Senior Lecturer MA, Villanova University Adjunct Assistant Professor BM, MAT, The University of the Arts Rick Hall Kevin MacConnell Senior Lecturer Senior Lecturer John Fedchock Senior Lecturer Dave Hartl Tony Marino BME, Ohio State University Assistant Professor Senior Lecturer MM, Eastman School of Music BM, West Chester State University Pat Martino Matt Gallagher Richard Hotchkiss Senior Lecturer Senior Lecturer Senior Lecturer BS, West Chester University BM, Philadelphia Colleges of the Arts Christopher Mauté MM, University of the Arts Lecturer Luke Housner BM, The University of the Arts William Garton Lecturer Senior Lecturer BM, Oberlin College Conservatory Frank Mazzeo BA, MA, Glassboro State College of Music Adjunct Assistant Professor MM, University of Illinois BS, West Chester University Richard Genovese MM, Temple University Adjunct Assistant Professor Damon Ireland Certificate, Curtis Institute of Music BM, Hartl College of Music Kelly Meashey Senior Lecturer Thomas Giacabetti Joseph Jackson BME, MM Temple University Senior Lecturer Lecturer BA,MA, McKendre College

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 87 Patrick Mercuri Anne Sciolla School of Theater Arts Adjunct Assistant Professor Senior Lecturer BM, BME, Philadelphia Musical BM, Philadelphia College of Irene Baird Academy Performing Arts Adjunct Associate Professor MM, Temple University BFA, Carnegie-Mellon Marlon Simon MFA, New York University Tony Miceli Senior Lecturer Senior Lecturer BFA, New School for Social Research James Brill BM, The University of the Arts Senior Lecturer Suzanne Snizek Graduate, Neighborhood Playhouse Daniel Muller Senior Lecturer BM, MAT, The University of the Arts BA, Indiana University Thea Chaloner MM, The University of the Arts Senior Lecturer Joseph Nero BA, Clark University Adjunct Associate Professor Evan Solot Diploma, Curtis Institute of Music Professor Jennifer Childs BM, BME, MM, Philadelphia Musical Senior Lecturer Theodore Pasternak Academy BFA, The University of the Arts Senior Lecturer BM, Philadelphia Musical Academy Patricia Stasis Karen Cleighton Music Ed. Certificate, Adjunct Assistant Professor Senior Lecturer Chestnut Hill College Diploma, Curtis Institute Diploma, Munich Conservatory of Music Charles Conwell James Paxson Professor Adjunct Assistant Professor Edward Stimson BS, Northwestern University Senior Lecturer MFA, Brandeis University Reginald Pindell BS, West Chester University Senior Lecturer Kali Lela Cotton BM, MM, Peabody Conservatory John Swana Senior Lecturer of Music Senior Lecturer Diploma, Curtis Institute of Music Aaron Cromie Craig Thomas Senior Lecturer Trudy Pitts Adjunct Associate Professor BM, College of New Jersey Adjunct Associate Professor BA, Rutgers University BM, Philadelphia Musical Academy BM, Philadelphia Musical Academy Eric Ebbenga MM, Rowan University Senior Lecturer Michael Quaile BM, MM, Temple University Senior Lecturer David Thomas BM, Philadelphia College of Senior Lecturer Mari Fielder Performing Arts BS, Westchester University Adjunct Professor MM, The University of the Arts MM, Peabody Conservatory of Music BA,Temple University MA, Ohio State University George Rabbai Gerald Veasley PhD, University of California, Senior Lecturer Master Lecturer Los Angeles

Mathew Reese Elio Villafranca Manfred Fischbeck BM, BS Penn State University Senior Lecturer Adjunct Associate Professor MA, George Mason University MM, University of Art, Havana, Cuba BA Equivalent - Freie Universitat, Berlin

Thomas Rudolph Dennis Wasko Charles Gilbert Senior Lecturer Senior Lecturer Chair Musical Theater, Associate Professor BM, Philadelphia College of BM, Philadelphia College of BA, University of Delaware Performing Arts Performing Arts MFA, Carnegie-Mellon University MM, West Chester University DME, Widener University Bill Zaccagni Mary Ellen Grant-Kennedy Assistant Professor Senior Lecturer Anthony Salicondro BM, Temple University Senior Lecturer BM, Philadelphia Musical Academy

88 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Theresa Greenland David Newer D’Arcy Webb Senior Lecturer Adjunct Assistant Professor Senior Lecturer BS, West Chester University BA, University of California, BA, Point Park College MM, Temple University Santa Barbara MFA, Rutgers University Jiri Zizka Neill Hartley Adjunct Professor Adjunct Assistant Professor Michael Pedretti BA,Graphic Design School, Prague BA, SUNY Oneonta Senior Lecturer MFA, MWI of Charles IV, Prague MFA, Temple University BS, University of Wisconsin MA, University of Kansas Linda Henderson Senior Lecturer Aaron Posner MM, West Chester University Adjunct Associate Professor BFA, Indiana University BS, Northwestern University

Rex Henriques Peter Pryor Senior Lecturer Senior Lecturer BFA, The University of the Arts Johnnie Hobbs, Jr. Chair, Acting, Associate Professor Patricia Raine Assistant Professor David Howey BM, Arizona State University Associate Professor MM, Northern Arizona University

Nancy Kantra Owen Robbins Assistant Professor Assistant Professor BA, University of Colorado BLArch., Virginia Polytechnic Institute MFA, Philadelphia College of MS, University of Pennsylvania Performing Arts Ed Shockley Connie Koppe Adjunct Assistant Professor Senior Lecturer MFA, Temple University BS, Indiana University of Pennsylvania MM, Temple University Leigh Smiley Adjunct Assistant Professor Rebecca Lisak BA, Marlboro College Senior Lecturer BFA, University of North Carolina at Rick Stoppleworth Greensboro Assistant Professor BS, University of Wisconsin/Madison Ernest Losso MFA, Temple University Assistant Professor Carnegie-Mellon University Denise Taylor Senior Lecturer Troy Martin O’Shia Lecturer Gene Terruso BFA, Webster University Director, School of Theater Arts Professor Forrest McClendon AB, MA, University of Scranton Adjunct Assistant Professor MFA, Rutgers University BM, University of Connecticut Neal Tracy Drucie McDaniel Adjunct Associate Professor Adjunct Assistant Professor BM, MM, DM, Indiana University BA, University of Maine Joan Twiss Tammy Meneghini Adjunct Assistant Professor Adjunct Assistant Professor MFA, Rutgers University MFA, Northern Illinois University BSN, Ohio State University

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 89 The School of Programs of Study The Curriculum Bachelor of Fine Arts (BFA) in Dance The curriculum in the School of Dance Dance Bachelor of Fine Arts in Dance Education has been carefully organized to allow the (BFA Dance Ed) students to grow to their maximum potential Susan B. Glazer Certificate in Dance — two-year program as dancers. It has been developed over the [email protected] Majors years by professionals who are experienced Director Ballet with the world of dance and its demands. Maria Urrutia Jazz/Theater Dance Daily technique classes in ballet, modern [email protected] Modern Dance dance, and jazz dance are basic to all Assistant to the Director Dance Education courses of study and are the heart of the pro- 211 South Broad Street gram. One year of tap is required. Each 215-717-6577 Bachelor of Fine Arts in Dance: student must be familiar with all major Ballet, Modern, or styles of dance in order to become as versa- The School of Dance is dedicated to the Jazz/Theater Dance tile as possible. Dance electives offered training of young artists for careers as pro- The Bachelor of Fine Arts (BFA) degree every semester include African dance, fessional performers, dance educators, and in Dance is a program designed for those Spanish dance, Brazilian dance, Character, choreographers, and provides an intensive students who wish to prepare for profes- pointe, men’s class, partnering, and yoga. exploration of dance in its physical, intellec- sional careers in dance performance and/or In addition to the rigorous study of tech- tual, and creative aspects. The School choreography. The BFA in Dance program nique, the dance curriculum includes: provides an environment in which students is normally completed in four years of full- 1. Creative subjects such as improvisation may develop an individual artistic vision time study with a total requirement of 128 and composition; while being exposed to a variety of artistic credits (130 credits for Dance Education). 2. Academic dance subjects such as dance roles. history, music, Labanotation, anatomy/kine- Bachelor of Fine Arts in siology, pedagogy; Dance Education 3. Ensembles, repertory, and other per- Facilities forming courses; The Bachelor of Fine Arts (BFA) in The main studios of the School of Dance 4. Free electives including voice, acting, Dance Education is a program designed are located in the Terra Building at 211 and visual arts courses. South Broad Street. These spacious, bright, specifically for students whose primary intention is to enter the profession as a and well-lit studios are fully equipped with Declaration of Major bars and mirrors, huge windows, pianos, teacher of dance. Although there is currently and audio consoles. Their floors are con- no Pennsylvania state certification for dance In March of the sophomore year, the stu- structed with four-inch, state-of-the-art teachers, this program includes supervised dent must take an upper-divisional exam, at suspension for the safest and most comfort- class teaching in schools and/or private which time the student will be evaluated able dancing surface available. Lockers, dance studios. The BFA in Dance Education with respect to his or her requested major. dressing rooms, showers, and lounges are is designed as a four-year program of full- The student is evaluated for future success found adjacent to the studios. The time study with a total requirement of 130 and, if appropriate, invited to continue the University has completely restored its his- credits. program for the junior and senior years. The toric Merriam Theater, which serves as the student must complete a Declaration of institution’s major performance hall for stu- Certificate in Dance Major form, obtain approval for the major dents, as well as “home” to a number of The Certificate in Dance is a two-year, from the School of Dance, and submit the regional performing arts organizations, 55-credit program intended for those stu- completed form to the Office of the including the Pennsylvania Ballet. The dents who wish to concentrate exclusively Registrar. UArts Dance Theater, a 150-seat theater, is on dance studies. This intensive program is used for student performances. The Albert designed to develop the student’s familiarity School of Dance Faculty M. Greenfield Library contains books, with and proficiency in a broad spectrum of journals, and videotapes devoted to dance, dance styles. The Certificate in Dance is Ballet which are available to students for research awarded in recognition of achievement, and Scott Jovovitch and coursework. does not constitute an academic degree. Andrew Pap Students wishing to transfer from this Jon Sherman program to the Bachelor’s degree program Carole Sklaroff may apply to do so and will be required to Suzanne Slenn obtain the approval of both the Director of Eva Szabo the School of Dance and the Director of Liberal Arts. The Certificate in Dance is awarded only to students who are in resi- dence and are matriculated in the Certificate program.

90 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Jazz/Theater Dance Special Regulations/ Injuries/Illness Of Short-Term Peter Bertini Duration: Ronen Koresh Requirements If a student misses class due to illness or Donald Lunsford injury, medical documentation is necessary Molly Misgalla Dance Technique Class from one of the following sources: the uni- Wayne St. David Regular, consistent presence in dance versity nurse, the university trainer, or a technique classes is essential to the stu- medical doctor. The School of Dance needs Modern Dance dent’s professional development. Dance to have in writing the diagnosis of the Kim Bears-Bailey technique classes meet up to five times per nature of the injury/illness, specific dates of Jennifer Binford week, depending upon the course and level. how long the student will be unable to par- Manfred Fischbeck ticipate in technique classes, what, if any, Curt Haworth Physical Demands of the rehabilitation is being done and, finally, Nancy Kantra Program when re-evaluation will take place. Brian Sanders To be a dance artist, students must be Faye Snow physically prepared to attend and participate Longer-Term Injury/Illness in technique classes. Strength and stamina If a student is unable to participate in Tap Dance are key to the success of the education and class for two or more weeks, he/she must LaVaughn Robinson training. Dancers are expected to maintain make an appointment with the Director or Karen Cleighton and support their technique through phys- Assistant Director of the School of Dance to ical conditioning in and out of class. To this determine the course of action. If the African Dance end, it is expected that students attend all injury/illness happens at the end of the classes and make up those missed due to ill- R. Jeanine Osayande school term or well after the mid point, the ness or injury. student might be permitted to earn the Brazilian Dance Incomplete grade, rather than withdrawing Absences from technique courses. In this instance, the Peter Bertini Unexcused absences must not exceed the student will be permitted to make up the incomplete in the Summer World of Dance, Spanish Dance number of credits per semester for the par- ticular course, i.e., in a two-credit course, or by doing additional work the following Nancy Heller no more than two absences are permitted. semester. Extensive absences, whether “excused” or If the injury requires a student to miss, or Dance Studies “unexcused,” will adversely affect the sit out, in excess of four weeks, he/she will Ninotchka Bennahum course grade. If, after warnings, a student be required to withdraw from all technique Peter Bertini persists in not attending or participating in classes. Under no circumstances may the Annette DiMedio class, he/she will fail the course and be student continue to remain on the sidelines Manfred Fischbeck placed on departmental probation. for more than four weeks and expect to Susan B. Glazer receive a grade for technique classes. Theresa Greenland Policy on Injury and/or Illness If the injury/illness requires abstaining Stephen Jay If a student is injured and cannot partici- from rigors of the class repeatedly, it may be Nancy Kantra pate in class, he/she is required to inform necessary for the student to take a leave of Pearl Schaeffer the faculty member and, if possible, attend absence, or to leave the program perma- Elise Tropea the class. If the student is “sitting out” the nently. In this case, the student must present Connie Vandarakis class, he/she must first get the teacher’s medical documentation to be considered for approval. To be counted as “present” the readmission. Accompanists student will be expected to take copious Larissa Bell notes of the class and/or write a research Dress Code Hans Boman paper that is to be given to the teacher. If the The School of Dance requires the fol- Asya Haykin injury is in the healing stage and the student lowing attire for all technique classes: Richard Iannacone feels able to participate in a limited way, WomenÐblack leotards with black tights John Levis he/she must again secure the approval of the for modern and jazz; pink or black tights for Tom Lowery faculty before the class begins. ballet; ballet, jazz, character, and tap shoes Tim Motzer In case of illness, the student should tele- are required. Valentina Slutsky phone the School of Dance to keep them MenÐblack tights with white tee shirts or apprised of the health situation. black leotard and tights and black ballet, Technical Director jazz, and tap shoes. Jay Madara Warm-ups are permitted only during the first 10 minutes of a class and must then be Costumer removed. Failure to adhere to the dress code Clyde Michael Hayes will result in the student not being able to take class.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 91 Extracurricular Activities Senior Dance Concert The production aspect of the concert is All students are expected to attend all One of the School’s most important graded by the faculty in charge of the classes and rehearsals for which they are requirements for graduation is the creation of course. The final grade thus reflects both the registered. Outside commitments must a senior dance concert, which includes process and the choreographic end result. never interfere with school work. If a stu- responsibility for choreography, rehearsals, dent has an outside professional lighting, costume and sound design, and Student Evaluations performance, he/she must ask the Director advertising. Juried examinations in each technique for special permission to be absent from Preparation for the senior concert takes take place at the end of each semester. In school, and the school’s “Professional place during the two-semester Dance addition, individual conferences are sched- Engagement Form” must be completed and Production course. A faculty advisor will uled in December and May. At this time, the approved by the instructor and the Director assist in the choreographic and technical faculty and student explore the progress of the School of Dance two weeks prior to production of the concert. Performance made in the program and review the stu- the engagement. dates are chosen in September. Concerts are dent’s potential for future success. shared by several seniors. The School of Dance recognizes that it is Performance Requirements possible for a student to earn a passing To fulfill the curricular requirement in Requirements grade in a course, yet not truly be able to performance, every sophomore, junior, and Students should refer to the School of perform on a professional level in the art senior dance major is required to participate Dance Senior Dance Production Guidebook form. In this instance, the faculty and in at least one performance each semester in for details. Director will advise the student of this lack either faculty-directed ensembles or a senior a. Choreography — All majors must of promise for a future career and make sug- student’s work. choreograph at least one group piece. In gestions for alternative career options. Scheduled concerts include end-of- addition, students may choreograph either a semester performances in the Merriam second group work or a solo; however, the Academic Progress Theater, senior concerts, and freshman, total must not exceed 10 minutes. All music Students will receive Academic Censure, sophomore, and junior composition con- must be approved by the faculty advisors. as determined by the Academic Review certs in the UArts Dance Theater. b. Performance — All students must per- Committee, for the following reasons: form in at least one work. 1. Semester GPA below 2.0. Ensemble Requirements c. Technical Assistance — Each student 2. Failure to meet the stipulation for Sophomores are required to take a max- must fulfill a crew requirement in another removal of Academic Censure by the imum of one ensemble per semester. student’s performance either as stage man- end of the specified period will result Junior Modern majors are required to ager; lighting, sound, or video technician; or in dismissal. take one ensemble plus Modern Repertory. backstage assistant. Please refer to the section in the front of Junior Jazz majors may take a maximum this catalog on Academic Review. of two ensembles per semester. Responsibilities Junior Ballet majors may take Ballet The University provides the theater, a Professional Standards Ensemble and an optional ensemble for a technical director, and the basic technical and Behavior maximum of two ensembles per semester. facilities. Any additional support, special Students are expected to maintain high Seniors may take a maximum of three lighting, or sound needs must be provided standards of professionalism in studio, ensembles per semester. by the student. All programs, flyers, and classroom, rehearsal, and performance com- If a student wishes to drop the assigned promotional materials can be duplicated by mitments. Failure to follow directions, and ensemble, he/she will not be able to register the dance office if presented well in advance absence from or lateness to rehearsals, per- (or take for noncredit) another ensemble, of the production in a finished state. formances, and related activities may result unless there is a class schedule conflict. in Academic Censure including lowering of All students are placed in one required Evaluation grade or course failure. ensemble by audition. Juniors (except for Dance students view their senior concert as Modern majors) and seniors may add an the culmination of their four years at the additional ensemble for credit. University of the Arts and an extremely important aspect of their college experience. The faculty, too, judge this performance as a serious demonstration of the student’s ability as a dance artist. All senior dance students must present their finished choreography on a date scheduled by the School to a jury con- sisting of three faculty members and the Director of the School of Dance. Evaluations of the content of the performance are offered by at least three faculty members after the performance.

92 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Dance Core Curriculum Ballet Major 127 credits The Core Curriculum is common to all The final two years of the Ballet major emphasize Bachelor of Fine Arts programs in the advanced technique in Ballet, including Pointe or School of Dance for the first two years. Men’s Ballet class. In addition, Ballet majors con- tinue non-major studies in either Modern or Jazz These required courses develop a solid Dance. foundation from which students pursue their specific areas of interest. Junior Year Credits Fall Freshman Year Credits Sophomore Year DA 301 A Ballet V 4.0 Fall Fall DA 308 A Dance Pedagogy I 2.0 DA 100 Rhythm for Dancers 1.0 DA 201 A Ballet III 2.0 DA 307 A Ballet Repertory I 1.0 DA 101 A Ballet I 2.0 DA 203 A Modern Dance III 2.0 DA 309 A Partnering I 1.0 DA 103 A Modern Dance I 2.0 DA 213 A Jazz Dance III 1.0 DA 326 A Modern Dance DA 113 A Jazz Dance I 1.0 DA 205 A Notation I 2.0 for Non-Majors V 1.0 DA 123 A Tap I 1.0 DA 211 A** Dance History I 3.0 DA 321 A Pointe I or 1.0 DA 116 A Fundamentals of Dance I 1.0 DA 216 Music for Dancers 1.0 DA 327 A Men’s Class I DA 190 Language of Music 1.0 DA 77X Dance Ensemble 1.0 DA 77X Dance Ensemble 1.0 Elective 1.0 HU 281* Dynamic Anatomy 3.0 Electives 3.0 HU 110 A First Year Writing I 3.0 Electives 2.0 HU XXX Liberal Arts 3.0 HU 103 A Intro. to Modernism I 3.0 Fall Total 17.0 Fall Total 17.0 Fall Total 16.0 Spring Spring Spring DA 201 B Ballet IV 2.0 DA 301 B Ballet VI 4.0 DA 101 B Ballet II 2.0 DA 203 B Modern Dance IV 2.0 DA 308 B Dance Pedagogy II 2.0 DA 103 B Modern Dance II 2.0 DA 213 B Jazz Dance IV 1.0 DA 307 B Ballet Repertory II 1.0 HU 103 B Intro. to Modernism I 3.0 DA 211 B** Dance History II 3.0 DA 309 B Partnering II 1.0 DA 113 B Jazz Dance II 1.0 DA 217 Dance Composition I 1.0 DA 319 Theater Functions 1.0 DA 123 B Tap II 1.0 DA 77X Dance Ensemble 1.0 DA 324 Character Dance 1.0 DA 109 Improvisation I 1.0 Electives 2.0 DA 326 B Modern Dance DA 116 B Fundamentals of Dance II 1.0 HU xxx Liberal Arts 3.0 for Non-Majors VI 1.0 DA 117** Survey of Music 3.0 Spring Total 15.0 DA 321 B Pointe II or 1.0 Elective 1.0 Sophomore Year Total: 32.0 DA 327 B Men’s Class II HU 110 B First Year Writing II 3.0 DA 77X Dance Ensemble 1.0 Spring Total 18.0 Elective 1.0 Freshman Year Total: 34.0 * May be taken either term, and fulfills the Liberal HU XXX Liberal Arts 3.0 Arts science requirement. Spring Total 17.0 ** Fulfills Liberal Arts discipline history require- Junior Year Total: 34.0 ment.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 93 Jazz/Theater Dance Major 128 credits The Jazz/Theater Dance major emphasizes acting, music, and voice in addition to the technical study of jazz dance, and prepares students for dance careers related to theatrical performance. Senior Year Junior Year Credits Senior Year Fall DA 401 A Ballet Major VII 4.0 Fall Fall DA 419 A Dance Production I 2.0 DA 311 A Jazz V 4.0 DA 411 A Jazz VII 4.0 DA 426 A Modern Dance 1.0 DA 308 A Dance Pedagogy I 2.0 DA 419 A Dance Production I 2.0 for Non-Majors VII DA 317 A Dance Composition II 2.0 DA 425 A Ballet for Non-Majors VII 1.0 DA 77X Dance Ensemble 1.0 DA 323 A Tap III 1.0 DA 77X Dance Ensemble 1.0 Elective 1.0 DA 325 A Ballet for Non-Majors V1 1.0 Elective 1.0 HU XXX Liberal Arts 6.0 Choose one of the following two: HU XXX Liberal Arts 6.0 DA 345 A Voice I or 1.0 Fall Total 15.0 Fall Total 15.0 TH 100 A Acting I Spring Spring DA 77X Dance Ensemble 1.0 DA 401 B Ballet Major VIII 4.0 DA 411 B Jazz VIII 4.0 Electives 2.0 DA 419 B Dance Production II 2.0 DA 419 B Dance Production II 2.0 HU XXX Liberal Arts 3.0 DA 426 B Modern Dance 1.0 DA 425 B Ballet for Non-Majors VIII 1.0 for Non-Majors VIII Fall Total 17.0 DA 77X Dance Ensemble 1.0 DA 77X Dance Ensembles 1.0 Spring Electives 2.0 Electives 2.0 DA 311 B Jazz VI 4.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 DA 308 B Dance Pedagogy I 2.0 Spring Total 13.0 DA 317 B Dance Composition III 2.0 Spring Total 13.0 Senior Year Total: 28.0 DA 319 Theater Functions 1.0 Senior Year Total: 28.0 DA 323 B Tap IV 1.0 DA 325 B Ballet for Non-Majors VI 1.0 Note: DA 326 and DA 426 may substitute for Choose one of the following two: Note: DA 328 and DA 428 may substitute for DA 325 and DA 425. DA 345 B Voice II or 1.0 DA 326 and DA 426. TH 100 B Acting II DA 77X Dance Ensemble 1.0 Elective 1.0 HU XXX Liberal Arts 3.0 Spring Total 17.0 Junior Year Total: 34.0

94 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Modern Dance Major Dance Education Major Certificate in Dance 128 credits 130 credits 55 credits Modern Dance majors further develop technique, Students choosing to pursue the Bachelor of Fine repertoire, and composition in the area of Modern Arts in Dance Education continue dance technique First Year Credits Dance. In addition, Modern Dance Majors also studies in one major area and one non-major area of Fall pursue non-major studies in either Ballet or Jazz concentration. The culmination of the program is DA 100 Rhythm for Dancers 1.0 Dance. an internship as a student teacher. DA 101 A Ballet I 2.0 DA 103 A Modern Dance I 2.0 Junior Year Credits Junior Year Credits DA 190 Language of Music 1.0 Fall Fall DA 113 A Jazz Dance I 1.0 DA 303 A Modern Dance V 4.0 DA 3XX A Major Technique 4.0 DA 116 A Fundamentals of Dance I 1.0 DA 305 A Modern Repertory I 1.0 DA 3XX A Non-Major Dance 1.0 DA 123 A Tap I 1.0 DA 308 A Dance Pedagogy I 2.0 DA 308 A Dance Pedagogy I 2.0 Electives 3.0 DA 317 A Dance Composition II 2.0 DA 317 A Dance Composition II 2.0 Fall Total 12.0 DA 322 A Improvisation II 1.0 DA 77X Dance Ensemble 1.0 DA 325 A Ballet for Non-Majors V 1.0 Elective 1.0 Spring DA 77X Dance Ensemble 1.0 HU XXX Liberal Arts 6.0 DA 101 B Ballet II 2.0 DA 103 B Modern Dance II 2.0 Elective 1.0 Fall Total 17.0 HU XXX Liberal Arts 3.0 DA 109 Improvisation I 1.0 Spring DA 113 B Jazz Dance II 1.0 Fall Total 16.0 DA 3XX B Major Technique 4.0 DA 116 B Fundamentals of Dance II 1.0 Spring DA 3XX B Non-Major Dance 1.0 DA 117 Survey of Music 3.0 DA 303 B Modern Dance VI 4.0 DA 308 B Dance Pedagogy II 2.0 DA 123 B Tap II 1.0 DA 305 B Modern Repertory II 1.0 DA 317 B Dance Composition III 2.0 DA 319 Theater Functions 1.0 DA 308 B Dance Pedagogy II 2.0 DA 319 Theater Functions 1.0 Elective 1.0 DA 317 B Dance Composition III 2.0 DA 77X Dance Ensemble 1.0 Spring Total 13.0 DA 319 Theater Functions 1.0 Electives 3.0 DA 322 B Improvisation III 1.0 HU XXX Liberal Arts 3.0 First Year Total: 25.0 DA 32B Ballet for Non-Majors VI 1.0 Spring Total 17.0 DA 77X Dance Ensemble 1.0 Second Year Junior Year Total: 34.0 Elective 1.0 Fall DA 201 A Ballet III 2.0 HU XXX Liberal Arts 3.0 Senior Year Spring Total 17.0 DA 203 A Modern Dance III 2.0 Fall DA 211 A Dance History I 3.0 Junior Year Total: 33.0 DA 4XX A Major Technique 4.0 DA 213 A Jazz Dance III 1.0 DA 4XX Non-Major Dance 1.0 DA 216 Music for Dancers 1.0 Senior Year DA 408 A Dance Symposium I 3.0 DA 308 A Dance Pedagogy I 2.0 Fall DA 419 A Dance Production I 2.0 DA 77X Dance Ensemble 1.0 DA 403 A Modern Dance VII 4.0 Elective 1.0 Electives 3.0 DA 419 A Dance Production I 2.0 HU XXX Liberal Arts 6.0 Fall Total 15.0 DA 425 A Ballet for Non-Majors VII 1.0 Fall Total 17.0 DA 77X Dance Ensemble 1.0 Spring Spring Electives 2.0 DA 201 B Ballet IV 2.0 DA 408 B Dance Symposium II 3.0 HU XXX Liberal Arts 6.0 DA 203 B Modern Dance IV 2.0 DA 410 Student Teaching 7.0 DA 211 B Dance History II 3.0 Fall Total 16.0 DA 419 B Dance Production II 2.0 DA 213 B Jazz Dance IV 1.0 Spring Electives 1.0 DA 308 B Dance Pedagogy II 2.0 DA 403 B Modern Dance VIII 4.0 Spring Total 13.0 DA 77X Dance Ensemble 1.0 DA 419 B Dance Production II 2.0 Senior Year Total: 30.0 DA 217 Dance Composition I 1.0 DA 425 B Ballet for Non-Majors VIII 1.0 Electives 3.0 DA 77X Dance Ensemble 1.0 Spring Total 15.0 Electives 2.0 HU XXX Liberal Arts 3.0 Second Year Total: 30.0 Spring Total 13.0 Senior Year Total: 29.0

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

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 95 composition; the Master of Arts in Teaching Studios) is a modern recording and music The School of in Music Education, which prepares stu- technology facility, with a complete 32- Music dents for certification as music teachers for input recording studio, MIDI and computer kindergarten through 12th grade; and the labs, computer and synthesizer workstation Master of Music in Jazz Studies, which is a labs, and an audio-for-video dubbing and Marc Dicciani finishing program for highly advanced stu- editing lab. Most practice rooms are [email protected] dents preparing for careers as performers or equipped with grand pianos. A suite of fully Director college-level instructors. A unique aspect of equipped percussion and drumset studios is 250 South Broad Street the undergraduate program allows students available for student practice. 215-717-6342 to select a special Music Education or Jazz The University’s historic Merriam Master’s track that may enable them to earn Theater and the Arts Bank are used for stu- Mission Statement both a bachelor’s and master’s degree in dent and faculty performances. The music The mission of the School of Music at five years. library, located in the Merriam building, The University of the Arts is to train and The School of Music faculty is made up contains books, manuscripts, journals, educate creative musical artists. We affirm of experienced and practicing professionals, scores, records, tapes, and compact discs, as the central role of jazz in nurturing the many of whom have attained international well as listening and viewing facilities, a musician’s creative impulse. Improvisation, stature as performing and recording artists. music education information center, and experimentation, and innovation are This professional faculty is supplemented online access to the Internet for students. intrinsic to our goals and methodologies. by a long list of guest artists and a regular The School of Music is dedicated to the series of workshops, master classes, and Performance performances with greats that has included preparation and training of musicians for a Opportunities/Ensembles career in music performance, composition, Wynton Marsalis, Randy and Michael and music education. The student’s growth Brecker, Arturo Sandoval, Dave Weckl, Afro-Cuban Ensemble as a musician is the primary goal of Joshua Redman, Jack DeJohnette, Terence Big Band the program. Blanchard, Danilo Perez, Bill Stewart, Peter “Blue Note” Ensemble The music program is distinguished by its Nero, Ernie Watts, Mike Stern, Chris Potter, Brass Ensemble emphasis on American music idioms, such Adam Nussbaum, Dave Liebman, Mike Brazilian Jazz Ensemble as jazz and contemporary music, and Mainieri, Gonzalo Rubalcaba, Dennis Brazilian Percussion Ensemble includes study in European and world tradi- Rowland, Gregg Field, Grover Washington, “Brecker Brothers” Ensemble tions. The School’s mission of training Jr., Max Roach, Eddie Gomez, Phil Woods, Chamber Singers professional musicians and educators of the Yo-Yo Ma, Ray Brown, Scott Henderson, “Charles Mingus” Ensemble highest caliber is maintained through a con- John Fedchock, Pat Martino, Phil Ramone, Chorus servatory atmosphere, which stresses Bill Watrous, Bob Mintzer, Billy Joel, Peter Drumset Ensemble individualized training, and a comprehen- Erskine, Jon Faddis, James Moody, Marvin Fusion Ensemble sive curriculum that includes private lessons “Smitty” Smith, Dave Samuels, Rob “GRP” Ensemble with master faculty, and an abundance and McConnell, Dennis Chambers, McCoy Handbell Choir diversity of ensembles. Coursework for Tyner, Patti Austin, Kurt Elling, Nestor “Horace Silver” Ensemble instrumental, vocal, and composition majors Torres, The Yellowjackets, and Joey Inter-arts Ensemble includes jazz improvisation, jazz theory and DeFrancesco. Jazz Guitar Ensemble ear training, arranging, orchestration, basic Founded in 1870 as the Philadelphia “Jazz Messengers” Ensemble piano and jazz piano, music and computer Musical Academy, which later merged with Jazz Lab Band technology, MIDI, recording engineering, the Philadelphia Conservatory of Music, the Jazz Singers Ensemble music business, music histories (classical, School counts among its alumni some of the Latin Jazz Ensemble jazz, American, rock), and world music. nation’s most accomplished musicians, “Maynard Ferguson” Ensemble Performance opportunities play an impor- including bassist Stanley Clarke, pianists “Miles Davis” Ensemble tant part in the student’s education by Kenny Barron, Andre Watts, and Sumi Musical Theater Ensemble sharpening technical and improvisation Tonooka, vocalists Florence Quivar and New Music Ensemble skills, and increasing the student’s command Osceola Davis, drummer Gerry Brown, sax- Percussion Ensemble of repertoire and styles. The School’s ophonist Lew Tabackin, trombonist Saxophone Ensemble numerous performance ensembles represent Robin Eubanks, composer Vincent Trombone Ensemble a wide range of styles and categories of jazz Persichetti, and TV/film composers John Vocal Jazz Ensemble and American music. Students are involved Davis and Edd Kalehoff. World Music Ensemble in a rigorous schedule of performances, with “Yellowjackets” Ensemble over 150 concerts and recitals presented Facilities each year. The School of Music is located in the Faculty Recitals This contemporary curriculum is organ- Merriam Theater building at 250 South Guest Artist Concerts ized in three degree programs: the Bachelor Broad Street. Facilities include fully Opera Scenes of Music in Jazz Studies, which prepares equipped music studios, practice rooms, a Small Jazz Ensemble Concerts students for careers as music professionals class piano laboratory, and classrooms. The Student Recitals in vocal or instrumental performance, or school’s MARS (MIDI and Recording

96 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Programs of Study history, music skills, sight singing, styles the Bachelor of Music program. No liberal Major Areas of Concentration and diction, theory, basic piano, jazz piano, arts courses are required. advanced piano, music technology, and The Certificate in Music is awarded only careers in music. Additionally, Vocal majors to students who are in residence and are Flute select classes and ensembles that most accu- matriculated in the certificate program. Clarinet rately reflect performance and study Saxophone interests, including jazz vocal ensembles, MATPREP Woodwind Doubling chorus, and chamber singers; and classroom Master of Arts in Teaching - Trumpet activities such as American, Western, and Corequisite Program Trombone Musical Theater music history, vocal work- Tuba MATPREP is a 17-credit elective course shops, and an ongoing series of master of study designed to satisfy corequisite Guitar classes. Bass (Electric and/or Upright) requirements for entrance into the Master of Percussion Arts in Teaching in Music Education pro- Bachelor of Music in Jazz gram. Open to all undergraduate music Drums Studies in Composition Piano majors, classes include an Introduction to Violin Students enrolled as majors in Music Education, Basic Conducting, Lab Composition Composition take private lessons with our Teaching, Psychology of Music Teaching, Voice faculty who work professionally in contem- and Orchestration. Completion of the MAT- Cello porary classical, jazz, and commercial PREP program with an average of 3.0 or (radio, TV, film, industrial) and pop idioms. higher in these courses and an overall cumu- Monthly workshops featuring guest com- lative GPA of 3.0 or higher satisfies most Undergraduate posers representing a variety of musical MAT entrance requirements. Programs genres present students with an inside look at their creative processes and techniques. Graduate Programs Bachelor of Music in Jazz Additional courses include Jazz Ear Studies in Instrumental Training, Jazz Theory, MIDI and Music Master of Arts in Teaching in Performance Technology, Arranging, Orchestration, Music History, Business of Music, and Music Education (MAT) The Jazz Studies instrumental curriculum ensembles. Student compositions are read The Master of Arts in Teaching in Music provides a direct and pragmatic education or performed by our ensembles, and fre- Education is a 36-credit program designed for students interested in establishing a quent performances of students’ music for students who have completed bachelor’s career as a performer or arranger in jazz highlight the school’s concert schedule. degrees in applied music, music and/or contemporary music. Students Composition students can also elect an theory/composition, music history/litera- receive weekly, one-hour private lessons in option to take additional study on an instru- ture, or other non-education, music-related their major area with renowned artist ment or voice. The University’s creative curricula. The MAT can be completed in teachers. Performance opportunities are environment encourages collaborations with one academic year provided that corequisite plentiful in the school’s award-winning jazz film, animation, dance, theater, and multi- requirements have been met and placement ensembles. Special courses include Jazz media students. testing does not indicate the need for sup- Improvisation, Jazz Theory, Jazz Ear- plementary studies. Undergraduate students Training, Basic Piano, Jazz Piano, Jazz Diploma Program in music at the University may take advan- Arranging, History of Jazz, The Business of This four-year program is designed pri- tage of the preparatory program known as Music, MIDI Synthesis, Music Technology, MATPREP, a 17-credit course of elective Recording Engineering, Transcription and marily for students who wish to take the entire musical portion of the undergraduate studies that satisfies all corequisites. The Analysis, Orchestration, World Music, 20th MAT in Music Education leads to teaching Century Music, Advanced Rhythmic curriculum without liberal arts courses. Students wishing to transfer from this pro- certification in the Commonwealth of Theory, and Advanced Improvisation. Pennsylvania. Woodwind majors may elect to enroll in a gram to the bachelor’s degree program may apply to do so in any year of their matricula- woodwind specialist program that includes Master of Music in the study of various woodwind instruments. tion and will be required to obtain the approval of both the Director of the School Jazz Studies of Music and the Director of Liberal Arts. The Master of Music in Jazz Studies is a Bachelor of Music in Jazz 32-credit program designed for students Studies in Vocal Performance The Diploma program is ideal for students who have already earned a degree in a field who have completed a bachelor’s degree in The Vocal Jazz Studies program in the other than music, but who want the benefit jazz performance or other applied music School of Music is a unique curriculum that of a complete undergraduate training and with significant experience in jazz/contem- provides strong training in traditional vocal education in music. porary music studies. The MM can be technique, and combines skills and knowl- completed in a one-year, two-semester edge in a range of vocal styles and literature Certificate in Music schedule, providing that all prerequisite including jazz/contemporary, and classical The two-year Certificate in Music pro- skills are satisfied prior to beginning the and musical theater. Students receive private program. The entrance requirements include instruction in voice, and take a core of gram consists of the musical studies normally taken during the first two years of advanced technical and stylistic facility on courses in jazz ear training, jazz theory, jazz the major instrument or voice, and skills in

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 97 improvisation, jazz theory and ear training, School of Music Faculty Guitar and jazz history. The MM program is Jimmy Bruno, Co-Chair intended to dramatically increase the stu- Applied and Ensemble Studies Craig Ebner dent’s performance abilities, as well as Composition Thomas Giacabetti, Co-Chair provide a diversity of other professional- George Akerley Michael Kennedy level competencies, preparing the student Andrea Clearfield Pat Martino for a career as a music professional or col- Don Glanden Patrick Mercuri lege-level teacher. Rick Hall Michael Quaile Evan Solot, Chair David Thomas Upright Jazz Bass/Electric Bass Voice Steve Beskrone Paul Adkins Charles Fambrough Meg Clifton Kevin MacConnell Jeffrey Kern, Chair Tony Marino Kelly Meashey Craig Thomas, Chair Reginald Pindell Gerald Veasley Patricia Raine Anne Sciolla Percussion/Drums Patricia Stasis Carl Allen Robert Brosh Strings Marc Dicciani John Blake Orlando Haddad Richard Hotchkiss Tony Miceli Joseph Nero, Chair Saxophone James Paxson Chris Farr Marlon Simon Ronald Kerber, Chair Frank Mazzeo Vocal Ensembles and Daniel Muller Conducting Anthony Salicondro Chorus and Chamber Singers Bill Zaccagni Meg Clifton Jeffrey Kern Trumpet Matt Gallagher Large Jazz Ensembles Tim Hagans Frank Mazzeo Jeff Jarvis Evan Solot George Rabbai Bill Zaccagni John Swana Dennis Wasko, Chair Small Jazz Ensembles All Jazz faculty Trombone John Fedchock Music Studies Richard Genovese Theory Clint Sharman Donald Chittum, Chair Don Glanden Keyboards Dave Hartl Annette DiMedio Stephen Jay Samuel Dockery Micah Jones Don Glanden, Chair Evan Solot Dave Hartl Craig Thomas Trudy Pitts David Thomas Elio Villafranca Bill Zaccagni

98 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Computer and Electronic Music Jazz Improvisation Special Regulations/ George Akerley Jimmy Bruno Steve Goodsell Chris Farr Requirements Dave Hartl Don Glanden Damon Ireland Ronald Kerber Attendance Micah Jones Pat Martino The number of hours of “Unexcused Thomas Rudolph Tony Miceli Absences” permitted per semester in the Michael Quaile School of Music may not exceed the Conducting John Swana number of credits per course, i.e., in a three- Patrick Jones Craig Thomas credit course, no more than three hours of Jeffrey Kern unexcused absences are permitted; in a two- Theodore Pasternak Music Education - credit course, no more that two hours of Undergraduate and Graduate unexcused absences are permitted, etc. Musicianship Studies Attendance at Lessons Chris Farr Marc Dicciani Don Glanden Annette DiMedio Students must attend all private lessons as Stephen Jay William Garton scheduled except in the case of illness or Micah Jones Janice Goltz emergency. It is the student’s responsibility Ronald Kerber Robert Goltz to notify the teacher if he/she is unable to Jeffrey Kern Patrick Jones, Chair keep the appointment time. Failure to give Evan Solot Jeffrey Kern at least 24 hours prior notice may result in John Knebl forfeiture of the lesson. A maximum of Music History and Literature Theodore Pasternak three lessons per semester will be made up Thomas Rudolph in the case of excused absences. Robert Brosh Lessons missed because of unexcused Donald Chittum Anthony Salicondro Dennis Wasko absences will not be made up. Annette DiMedio Lessons missed due to the teacher’s Bill Zaccagni absence will be rescheduled and made up by the teacher, or his/her designee. Recording Unless circumstances render it impos- Steven Goodsell sible, “make-up” lessons for the Fall Theodore Greenberg semester are to be completed prior to the Spring semester; “make-up” lessons for the Music Business Spring must be completed by June 15. Marc Dicciani Normally, students are entitled to 28 one- hour lessons during the academic year (14 Latin-American Music per semester). Orlando Haddad Marlon Simon Change of Major Teacher Elio Villafranca Students who wish to petition for a change of major teacher must: Arranging/Orchestration 1. Secure a “Request for Change of Major Norman David Teacher” form from the Director of the Bill Zaccagni School of Music. 2. State reasons for requesting a change Class Piano of teacher. Annette DiMedio 3. Obtain the signed approval of the Jeffrey Kern present and the requested teacher. David Thomas 4. Obtain the signed approval of the department chair. Music Librarian 5. Obtain the signed approval of the Mark Germer Director of the School of Music. Such changes are not usually effected in World Music mid-semester. If the change is approved Robert Brosh during the semester, in addition to the Donald Chittum process stated above, the student must also complete a Drop/Add form to correct the current major teacher designation. The Drop/Add form must be signed by the Director of the School of Music and sub-

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 99 mitted by the student to the Office of the pletion of applied study. Requirements are Graduation Requirements established for each year of study and are Registrar. In addition to the general CPA require- considered cumulative: e.g., a jury examina- ments for graduation, the following must be tion of a second-year student may include Faculty Advisors fulfilled: All students are assigned to a faculty requirements from the first year. advisor. Lists are posted in the Merriam It is possible for a student to pass the jury Undergraduate Requirements examination and yet receive a failing grade Lobby during the first week of the academic 1. Performance majors must present a sat- year. Students should feel free to see their in the major, due to the different grading and evaluation criteria for each. However, a isfactory graduation recital before the public advisor at any time concerning problems (“satisfactory” performance to be determined that they may encounter. student who fails the jury will receive a failure in the major. by majority vote of a faculty jury). Appointments can be made at the mutual 2. Composition majors must submit a sat- convenience of the student and the faculty Jury Recital Requirements isfactory substantial work in the senior year, advisor. to be publicly performed, adjudicated by the Regulations regarding jury examinations Composition faculty. Jury Examinations and Senior Recitals are available in the 3. The recital must include musical All first, second, and third-year music office of the School of Music. selections as stipulated by the faculty, and majors must take a jury examination in their must conform to School of Music recital applied area upon the completion of the Academic Progress requirements. second, fourth, and sixth semesters of applied Students will receive Academic Censure, study. This usually occurs in May during the as determined by the Academic Review Exit Requirements for the week immediately following classroom Committee, for the following reasons: MAT in Music Education examinations. However, students who began 1. Semester GPA below 2.0. Successful completion of all course and their matriculation in midyear, transferred 2. Grade below “B-” (2.67) in the fol- related requirements shall lead to the granting from another institution, or have failed their lowing major courses: Major Lessons of the Master of Arts in Teaching with a jury in a prior year may be scheduled to take (MU 192-692 A/B) major in Music Education, provided that an the examination in December. 3. Failure to meet the stipulation for overall GPA of 3.0 or higher is maintained. Students are evaluated in comparison to removal of Academic Censure by the However, approval of the MAT in Music the Minimum Applied Jury Requirements in end of the specified period will result Education Committee is required for recom- their major. A list of these requirements is in dismissal. mendation for teacher certification. It should given to each student by his/her major be noted also that the initial Instructional I teacher at the beginning of each year. The “First Wednesday” Certificate cannot be issued by the jury consists of at least two faculty members The first Wednesday of each month is Commonwealth of Pennsylvania Department in addition to the major teacher (who may devoted to faculty and guest recitals, lec- of Education unless PDE testing requirements be present but may not grade). The jury tures, master classes, and workshops, as have been met. examination is graded “Pass/Fail,” but also well as student performances. includes areas of optional letter grading Music majors should not schedule other Exit Requirements for the evaluation. commitments during the time designated as Master of Music in Jazz Studies Failure in any single “Pass/Fail” aspect of First Wednesday. In addition, all music stu- All MM students must complete a satis- the jury examination constitutes an “F” dents are encouraged to attend student and factory graduate project and a graduate (Failure) in the entire jury examination. A professional performances on a regular basis. student who fails the jury fails the entire recital in order to meet the degree require- semester in the applied major; the examina- Professional Standards ments for completion of the Master of tion may not be retaken. A grade of “F” will and Behavior Music. The recital must include musical selec- appear on the student’s transcript for both the Students are required to maintain high major lessons and the jury exam, and the stu- tions as stipulated by the major teacher and standards of professionalism in studio, department, and must conform to the guide- dent will receive no credit for the semester’s classroom, rehearsal, and performance com- work in major lessons. The student must lines as stated in the school policy mitments. Failure to follow directions, and governing recitals. repeat the failed semester of applied study absence from or lateness to rehearsals, per- and retake the jury examination at the com- All MM candidates are required to main- formances, and related activities may result tain a cumulative GPA of at least a 3.0. pletion of the next semester. A student who in Academic Censure, including lowering of fails the same semester jury examination grades or course failure. more than once, or who fails a total of more than one jury examination during his/her Applied Workshops matriculation at the University will be rec- Workshops in each applied major/depart- ommended for dismissal. ment are scheduled at least four times each The requirements that are tested in the semester. Faculty and guests teach an array jury examination are those that have been of topics that are supplemental and sup- established, by a departmental faculty com- portive to the major lesson. Attendance and mittee, to be the minimum set of skills and participation are required as part of the knowledge necessary for successful com- grade in the major.

100 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Bachelor of Music in Jazz Studies-Instrumental Performance 126 credits

N.B. All instrumental majors are required to suc- Freshman Credits Junior Credits cessfully complete one year of Chorus, which Fall Fall may be taken as ensemble or elective credits. MU 192 A Applied Major Instruction 3.0 MU 392 A Applied Major Instruction 3.0 Piano (MU 131 A/B) and Jazz Piano (MU 232 MU 107 A Music Theory I 3.0 MU 7XX Ensemble 1.0 A/B) are not required for piano majors. Instead, substitute four elective credits. MU 103 A Musicianship I 3.0 MU 310 Transcription and Analysis 1.0 * All undergraduate music students must take MU 100 Major Workshop 1.0 Electives 3.0 either Business of Music (MU 420 A) or Careers MU 113 Freshman Improvisation 1.0 MU 401 A** Jazz History 3.0 in Music (MU 420 B). Students who take both MU 131 A Class Piano I 1.0 HU XXX Liberal Arts 6.0 may apply one toward elective credits. † Senior Recital may be completed either MU 115 Music Technology Survey 1.0 Fall Total 17.0 semester. HU 110 A First Year Writing I 3.0 Spring ** Also fulfills Liberal Arts discipline history Fall Total 15.0 MU 392 B Applied Major Instruction 3.0 requirement. Spring MU 7XX Ensemble 1.0 MU 192 B Applied Major Instruction 3.0 MU 311 Transcription and Analysis 1.0 MU 107 B Music Theory II 3.0 Electives 3.0 MU 103 B Musicianship II 3.0 MU XXX Music Elective 3.0 MU 113 Freshman Improvisation 1.0 MU 030 Jury Examination 0 MU 131 B Class Piano II 1.0 HU XXX Liberal Arts 6.0 MU 116 Music Technology Survey 1.0 Spring Total 17.0 HU 110 B First Year Writing II 3.0 Junior Year Total 34.0 MU 010 Jury Examination 0 Spring Total 15.0 Senior Freshman Year Total 30.0 Fall MU 492 A Applied Major Instruction 3.0 Sophomore MU 301 A** Music History I 3.0 Fall MU 7XX Ensemble 2.0 MU 292 A Applied Major Instruction 3.0 Electives 3.0 MU 208 A Jazz Theory I 3.0 HU XXX Liberal Arts 3.0 MU 209 A Jazz Ear Training I 3.0 Fall Total 14.0 MU 7XX Ensemble 1.0 Spring MU 232 A Class Jazz Piano I 1.0 MU 492 B Applied Major Instruction 3.0 MU 213 A Jazz Improvisation I 2.0 MU 301 B** Music History II 3.0 HU 103 A Intro. to Modernism I 3.0 MU 7XX Ensemble 2.0 Fall Total 16.0 HU XXX Liberal Arts 6.0 Spring MU 040† Senior Recital 0 MU 292 B Applied Major Instruction 3.0 Select one of the following two: MU 208 B Jazz Theory II 3.0 MU 420A* Business of Music 2.0 MU 209 B Jazz Ear Training II 3.0 MU420 B Careers in Music MU 7XX Ensemble 1.0 Spring Total 16.0 MU 232 B Class Jazz Piano II 1.0 Senior Year Total 29.0 MU 213 B Jazz Improvisation II 2.0 HU 103 B Intro. to Modernism II 3.0 MU 020 Jury Examination 0 Spring Total 16.0 Sophomore Year Total: 32.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 101 Bachelor of Music in Jazz Studies- Vocal Performance 126 credits

Freshman Credits Junior Credits All undergraduate Music students must take either Business of Music (MU 420 A) or Careers in Music (MU Fall Fall 420 B). Students who take both may apply one toward MU 191 A Applied Major Instruction 3.0 MU 391 A Applied Major Instruction 3.0 elective credits. MU 107 A Music Theory I 3.0 MU 7XX Ensemble 1.0 † Senior Recital may be completed either term. MU 103 A Musicianship I 3.0 MU 772 Chorus 1.0 ** Also fulfills liberal arts discipline history requirement. MU 139 Vocal Styles and Diction I 1.0 MU 331 B Advanced Piano and MU 772 Chorus 1.0 Accompanying 1.0 MU 131 A Class Piano I 1.0 MU 401 A** Jazz History 3.0 MU 115 Music Technology Survey 1.0 Electives 3.0 HU 110 A First Year Writing I 3.0 HU XXX Liberal Arts 6.0 Fall Total 16.0 Fall Total 18.0 Spring Spring MU 191 B Applied Major Instruction 3.0 MU 391 B Applied Major Instruction 3.0 MU 107 B Music Theory II 3.0 MU 7XX Ensemble 1.0 MU 103 B Musicianship II 3.0 MU 772 Chorus 1.0 MU 140 Vocal Styles and Diction I, II 1.0 MU 331 B Advanced Piano and MU 772 Chorus 1.0 Accompanying 1.0 MU 131 B Class Piano II 1.0 MU 030 Jury Examination 0 MU 116 Music Technology Survey 1.0 Electives 3.0 HU 110 B First Year Writing II 3.0 HU XXX Liberal Arts 6.0 MU 010 Jury Examination 0 Spring Total 15.0 Spring Total 16.0 Junior Year Total 33.0 Freshman Year Total 32.0 Senior Sophomore Fall Fall MU 491 A Applied Major Instruction 3.0 MU 291 A Applied Major Instruction 3.0 MU 772 Chorus 1.0 MU 208 A Jazz Theory I 3.0 MU 7XX Ensemble 1.0 MU 209 A Jazz Ear Training I 3.0 Select one of the following two: MU 772 Chorus 1.0 MU 420 A Business of Music 2.0 MU 232 A Class Jazz Piano I 1.0 MU 420 B Careers in Music MU 213 A Jazz Improvisation I 2.0 MU 301 A** Music History I 3.0 HU 103 A Intro. to Modernism I 3.0 Electives 3.0 Fall Total 16.0 HU XXX Liberal Arts 3.0 Spring Fall Total 16.0 MU 291 B Applied Major Instruction 3.0 Spring MU 208 B Jazz Theory II 3.0 MU 491 B Applied Major Instruction 3.0 MU 209 B Jazz Ear Training II 3.0 MU 772 Chorus 1.0 MU 772 Chorus 1.0 MU 7XX Ensemble 1.0 MU 232 B Class Jazz Piano II 1.0 MU 040† Senior Recital 0 MU 213 B Jazz Improvisation II 2.0 MU 301 B** Music History II 3.0 HU 103 B Intro. to Modernism II 3.0 HU XXX Liberal Arts 6.0 MU 020 Jury Examination 0 Spring Total 13.0 Spring Total 16.0 Senior Year Total 29.0 Sophomore Year Total 32.0

102 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Bachelor of Music in Jazz Studies- Composition 126 credits

N.B. All composition majors are required to successfully Junior Credits Freshman Credits complete one year of Chorus, which may be taken as Fall Fall ensemble or elective credits. MU 193 A Applied Major Instruction 3.0 MU 393 A Applied Major Instruction 3.0 * All undergraduate music students must take either MU 107 A Music Theory I 3.0 MU 401 A** Jazz History 3.0 Business of Music (MU 420 A) or Careers in Music (MU 420 B). Students who take both may apply one MU 7XX Ensemble 1.0 MU 103 A Musicianship I 3.0 toward elective credits. MU 415 A Intro. to MIDI and Electronic MU 7XX Ensemble 1.0 † Senior Recital may be completed either term. MU 131 A Class Piano I 1.0 Technology 3.0 ** Also fulfills liberal arts discipline history requirement. MU 115 Music Technology Survey 1.0 HU XXX Liberal Arts 3.0 HU 110 A First Year Writing I 3.0 Electives 3.0 Fall Total 15.0 Fall Total 16.0 Spring Spring MU 193 B Applied Major Instruction 3.0 MU 393 B Applied Major Instruction 3.0 MU 107 B Music Theory II 3.0 MU 7XX Ensemble 1.0 MU 103 B Musicianship II 3.0 MU 317 A Orchestration I 3.0 MU 7XX Ensemble 1.0 MU XXX Music Elective 3.0 MU 131 B Class Piano II 1.0 MU 030 Jury Examination 0 MU 116 Music Technology Survey 1.0 HU XXX Liberal Arts 6.0 MU 010 Jury Examination 0 Spring Total 16.0 HU 110 B First Year Writing II 3.0 Junior Year Total 32.0 Spring Total 15.0 Freshman Year Total 30.0 Senior Fall Sophomore MU 493 A Applied Major Instruction 3.0 Fall MU 301 A** Music History I 3.0 MU 293 A Applied Major Instruction 3.0 MU 7XX Ensemble 1.0 MU 208 A Jazz Theory I 3.0 Select one of the following two: MU 209 A Jazz Ear Training I 3.0 MU 420 A* Business in Music 2.0 MU 7XX Ensemble 1.0 MU 420 B Careers in Music MU 232 A Class Jazz Piano I 1.0 Electives 3.0 MU 315 A Jazz Arranging I 2.0 HU XXX Liberal Arts 6.0 HU 103 A Intro. to Modernism I 3.0 Fall Total 18.0 Fall Total 16.0 Spring Spring MU 493 B Applied Major Instruction 3.0 MU 293 B Applied Major Instruction 3.0 MU 301 B** Music History II 3.0 MU 208 B Jazz Theory II 3.0 MU 7XX Ensemble 1.0 MU 209 B Jazz Ear Training II 3.0 MU 040† Senior Recital 0 MU 7XX Ensemble 1.0 Electives 3.0 MU 232 B Class Jazz Piano II 1.0 HU XXX Liberal Arts 6.0 MU 020 Jury Examination 0 Spring Total 16.0 HU 103 B Intro. to Modernism II 3.0 Senior Year Total 34.0 Spring Total 14.0 Sophomore Year Total 30.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 103 Diploma in Music in Jazz Diploma in Music in Jazz Studies-Instrumental Studies- Vocal Performance Performance 104 credits 104 credits

Freshman Credits Freshman Credits Junior Credits Fall Fall Fall MU 191 A Applied Major Instruction 3.0 MU 192 A Applied Major Instruction 3.0 MU 392 A Applied Major Instruction 3.0 MU 107 A Music Theory I 3.0 MU 107 A Music Theory I 3.0 MU 7XX Ensembles 2.0 MU 103 A Musicianship I 3.0 MU 103 A Musicianship I 3.0 MU 310 Transcription and Analysis 1.0 MU 139 Vocal Styles and Diction I 1.0 MU 100 Major Workshop 1.0 MU 401 A Jazz History 3.0 MU 772 Chorus 1.0 MU 113 Freshman Improvisation 1.0 Electives 3.0 MU 131 A Class Piano I 1.0 MU 7XX Ensemble 1.0 Fall Total 12.0 MU 115 Music Technology Survey 1.0 MU 131 B Class Piano I 1.0 Spring Fall Total 13.0 MU 115 Music Technology Survey 1.0 MU 392 B Applied Major Instruction 3.0 Fall Total 13.0 MU 7XX Ensembles 2.0 Spring MU 191 B Applied Major Instruction 3.0 Spring MU 311 Transcription and Analysis 1.0 MU 107 B Music Theory II 3.0 MU 192 B Applied Major Instruction 3.0 MU XXX Music Elective 3.0 MU 103 B Musicianship II 3.0 MU 107 B Music Theory II 3.0 MU 030 Jury Examination 0 MU 140 Vocal Styles and Diction II 1.0 MU 103 B Musicianship II 3.0 Electives 3.0 MU 772 Chorus 1.0 MU 113 Freshman Improvisation 1.0 Spring Total 12.0 MU 131 B Class Piano II 1.0 MU 7XX Ensemble 1.0 Junior Year Total 24.0 MU 116 Music Technology Survey 1.0 MU 131 B Class Piano II 1.0 MU 010 Jury Examination 0 MU 116 Music Technology Survey 1.0 Senior Spring Total 13.0 MU 010 Jury Examination 0 Fall Spring Total 13.0 MU 492 A Applied Major Instruction 3.0 Freshman Year Total 26.0 MU 7XX Ensembles 2.0 Freshman Year Total 26.0 Sophomore MU 420 A Business of Music 2.0 Sophomore MU 040† Senior Recital 0 Fall MU 291 A Applied Major Instruction 3.0 Fall MU 301 A Music History I 3.0 MU 208 A Jazz Theory I 3.0 MU 292 A Applied Major Instruction 3.0 Electives 3.0 MU 209 A Jazz Ear Training I 3.0 MU 208 A Jazz Theory I 3.0 Fall Total 13.0 MU 772 Chorus 1.0 MU 209 A Jazz Ear Training I 3.0 Spring MU 7XX Ensemble 1.0 MU 7XX Ensembles 2.0 MU 492 B Applied Major Instruction 3.0 MU 232 A Class Jazz Piano I 1.0 MU 232 A Class Jazz Piano I 1.0 MU 7XX Ensembles 2.0 MU 213 A Jazz Improvisation I 2.0 MU 213 A Jazz Improvisation 2.0 MU 420 B Careers in Music 2.0 Fall Total 14.0 Fall Total 14.0 MU 040† Senior Recital 0 Spring Spring MU 301 B Music History I, II 3.0 MU 291 B Applied Major Instruction 3.0 MU 292 B Applied Major Instruction 3.0 Electives 3.0 MU 208 B Jazz Theory II 3.0 MU 208 B Jazz Theory I 3.0 Spring Total 13.0 MU 209 B Jazz Ear Training II 3.0 MU 209 B Jazz Ear Training II 3.0 Senior Year Total 26.0 MU 772 Chorus 1.0 MU 7XX Ensembles 2.0 MU 7XX Ensemble 1.0 MU 232 B Class Jazz Piano II 1.0 MU 232 B Class Jazz Piano II 1.0 MU 213 B Jazz Improvisation 2.0 N.B. All instrumental majors are required to successfully MU 213 B Jazz Improvisation II 2.0 MU 020 Jury Examination 0 complete one year of Chorus (MU 772), which may be taken as ensemble or elective credits. MU 020 Jury Examination 0 Spring Total 14.0 Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are Spring Total 14.0 Sophomore Year Total 28.0 not required for piano majors. Instead, substitute four elective credits. Sophomore Year Total 28.0 † Senior Recital may be completed either term.

104 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Diploma in Music in Jazz Studies- Composition 104 credits

Junior Credits Freshman Credits Junior Credits Fall Fall Fall MU 391 A Applied Major Instruction 3.0 MU 193 A Applied Major Instruction 3.0 MU 393 A Applied Major Instruction 3.0 MU 7XX Ensemble 1.0 MU 107 A Music Theory 3.0 MU 7XX Ensembles 2.0 MU 772 Chorus 1.0 MU 103 A Musicianship I 3.0 MU 317 A Orchestration I 3.0 MU 331 A Advanced Piano and MU 7XX Ensemble 1.0 MU415 A Intro. to MIDI and Electronic Accompanying 1.0 MU 131 A Class Piano 1.0 Technology 3.0 MU 401 A Jazz History 3.0 MU 115 Music Technology Survey 1.0 MU 030 Jury Examination 0 Electives 3.0 Fall Total 12.0 MU 401 A Jazz History 3.0 Fall Total 12.0 Spring Fall Total 14.0 Spring MU 193 B Applied Major Instruction 3.0 Spring MU 391 B Applied Major Instruction 3.0 MU 107 B Music Theory 3.0 MU 393 B Applied Major Instruction 3.0 MU 7XX Ensemble 1.0 MU 103 B Musicianship II 3.0 MU 311 Transcription and Analysis 1.0 MU 772 Chorus 1.0 MU 7XX Ensemble 1.0 MU 7XX Ensembles 2.0 MU XXX Music Elective 3.0 MU 131 B Class Piano 1.0 MU XXX Music Elective 3.0 MU 331 B Advanced Piano and MU 116 Music Technology Survey 1.0 MU 030 Jury Examination 0 Accompanying 1.0 MU 010 Jury Examination 0 Electives 3.0 MU 030 Jury Examination 0 Spring Total 12.0 Spring Total 12.0 Electives 3.0 Freshman Year Total 24.0 Junior Year Total 26.0 Spring Total 12.0 Senior Junior Year Total 24.0 Sophomore Fall Fall Senior MU 293 A Applied Major Instruction 3.0 MU 493 A Applied Major Instruction 3.0 Fall MU 208 A Jazz Theory I 3.0 MU 7XX Ensembles 2.0 MU 491 A Applied Major Instruction 3.0 MU 209 A Jazz Ear Training I 3.0 MU 420 A Business of Music 2.0 MU 772 Chorus 1.0 MU 7XX Ensemble 1.0 MU 301 A Music History 3.0 MU 7XX Ensemble 1.0 MU 232 A Class Jazz Piano 1.0 Electives 3.0 MU 420 A Business of Music 2.0 MU 315 A Jazz Arranging I 2.0 Fall Total 13.0 MU 040† Senior Recital 0 Fall Total 13.0 Spring MU 301 A Music History I 3.0 Spring MU 493 B Applied Major Instruction 3.0 Electives 3.0 MU 293 B Applied Major Instruction 3.0 MU 7XX Ensembles 2.0 Fall Total 13.0 MU 208 B Jazz Theory II 3.0 MU 420 B Careers in Music 2.0 Spring MU 209 B Jazz Ear Training II 3.0 MU 040† Senior Recital 0 MU 491 B Applied Major Instruction 3.0 MU 7XX Ensemble 1.0 MU 301 B Music History 3.0 MU 772 Chorus 1.0 MU 232 B Class Jazz Piano 1.0 Electives 3.0 MU 7XX Ensemble 1.0 MU XXX Music Elective 3.0 Spring Total 13.0 MU 420 B Careers in Music 2.0 MU 020 Jury Examination 0 Senior Year Total 26.0 MU 040† Senior Recital 0 Spring Total 14.0 MU 301 B Music History II 3.0 Sophomore Year Total 27.0 Electives 3.0 N.B. All composition majors are required to suc- Spring Total 13.0 cessfully complete one year of Chorus, which may Senior Year Total 26.0 be taken as ensemble or elective credits.

† Senior Recital may be completed either semester.

† Senior Recital may be completed either term.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 105 Certificate in Music in Jazz Certificate in Music in Jazz Studies- Instrumental Studies- Vocal Performance Performance 54 credits 54 credits

First Year Credits First Year Credits Fall Fall MU 192 A Applied Major Instruction 3.0 MU 191 A Applied Major Instruction 3.0 MU 107 A Music Theory I, II 3.0 MU 107 A Music Theory I 3.0 MU 103 A Musicianship 3.0 MU 103 A Musicianship I 3.0 MU 100 Major Workshop 1.0 MU 139 Vocal Styles and Diction I 1.0 MU 7XX Ensemble 1.0 MU 7XX Ensemble 1.0 MU 131 A Class Piano 1.0 MU 131 A Class Piano I 1.0 MU 115 Music Technology Survey 1.0 MU 115 Music Technology Survey 1.0 Fall Total 13.0 Fall Total 13.0 Spring Spring MU 192 B Applied Major Instruction 3.0 MU 191 B Applied Major Instruction 3.0 MU 107 B Music Theory I, II 3.0 MU 107 B Music Theory II 3.0 MU 103 B Musicianship 3.0 MU 103 B Musicianship II 3.0 MU 113 Freshman Improvisation 1.0 MU 140 Vocal Styles and Diction II 1.0 MU 7XX Ensemble 1.0 MU 7XX Ensemble 1.0 MU 131 B Class Piano 1.0 MU 131 B Class Piano II 1.0 MU 116 Music Technology Survey 1.0 MU 116 Music Technology Survey 1.0 MU 010 Jury Examination 0 MU 010 Jury Examination 0 Spring Total 13.0 Spring Total 13.0 First Year Total 26.0 First Year Total 26.0

Second Year Second Year Fall Fall MU 292 A Applied Major Instruction 3.0 MU 291 A Applied Major Instruction 3.0 MU 208 A Jazz Theory I, II 3.0 MU 208 A Jazz Theory I 3.0 MU 209 A Jazz Ear Training I, II 3.0 MU 209 A Jazz Ear Training I 3.0 MU 7XX Ensembles 2.0 MU 7XX Ensembles 2.0 MU 232 A Class Jazz Piano I, II 1.0 MU 232 A Class Jazz Piano 1.0 MU 213 A Jazz Improvisation I, II 2.0 MU 213 A Jazz Improvisation I 2.0 Fall Total 14.0 Fall Total 14.0 Spring Spring MU 292 B Applied Major Instruction 3.0 MU 291 B Applied Major Instruction 3.0 MU 208 B Jazz Theory I, II 3.0 MU 208 B Jazz Theory II 3.0 MU 209 B Jazz Ear Training I, II 3.0 MU 209 B Jazz Ear Training II 3.0 MU 7XX Ensembles 2.0 MU 7XX Ensembles 2.0 MU 232 B Class Jazz Piano I, II 1.0 MU 232 B Class Jazz Piano 1.0 MU 213 B Jazz Improvisation I, II 2.0 MU 213 B Jazz Improvisation II 2.0 MU 020 Jury Examination 0 MU 020 Jury Examination 0 Spring Total 14.0 Spring Total 14.0 Second Year Total 28.0 Second Year Total 28.0

N.B. Piano (MU 131 A/B) and Jazz Piano (MU 232 A/B) are not required for piano majors. Instead, substitute four elective credits.

106 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Music Education MATPREP 17 credits

Preparatory Program for the Course Credits Master of Arts in Teaching MU 151 A Intro. to Music Education I 1.0 All undergraduate degree students in music at The University of the Arts may MU 151 B Intro. to Music Education II 1.0 enroll in and take advantage of the MAT in MU 257 A Lab Teaching/Practicum I 2.0 Music Education Preparatory Program MU 257 B Lab Teaching/Practicum II 2.0 (MATPREP). Completion of this program MU 254 Basic Conducting 2.0 allows students to satisfy all corequisite requirements for admission to the MAT in MU 356 A Music Teaching Skills I 1.0 Music program. MATPREP is also an MU 356 B Music Teaching Skills II 1.0 important means for maintaining continuity MU 451 A Psychology of between undergraduate and graduate experi- Music Teaching I 2.0 ences, and for fostering communication between students and faculty in Music MU 451 B Psychology of Education. Music Teaching II 2.0 Admission to the University as a MU 317 A Orchestration I 3.0 BM/MAT student in Music indicates accept- ance into the Bachelor of Music program Total Credits 17.0 and into the MATPREP program. Full admission to the MAT in Music Education program must be granted prior to the begin- ning of graduate-level instruction on the same basis as other MAT candidates. A minimum grade-point average of 3.0 in MATPREP courses and a minimum overall cumulative grade-point average of 3.0 must be achieved in order to be considered as a candidate for admission into the MAT in Music Education Program.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 107 Music Education MAT in Music Education Music Education Faculty Master of Arts in Teaching Master of Arts in 36 credits Marc Dicciani Teaching Annette DiMedio Patrick M. Jones William Garton Fall [email protected] Richard Genovese MU 551 Education in Division Head Janice Goltz American Society 3.0 215-717-6356 Patrick M. Jones Jeffrey Kern MU 552 Workshop in Vocal Methods 2.0 John Knebl MU 553 Music and Special Children 2.0 The Master of Arts in Teaching in Music MU 554 A Elementary Methods Education is an advanced teacher certifica- Christopher Mauté Thomas Rudolph and Materials 3.0 tion program designed to prepare MU 555 Elementary Student Teaching 4.0 individuals with established musical skills Anthony Salicondro MU 560 A Workshop in and subject matter mastery for successful Dennis Wasko Instrumental Methods I 2.0 careers in teaching and education-related fields. It is a unique program in that candi- MU 558 Student Teaching dates for the MAT in Music Education Seminar and Major Project 2.0 typically will have completed undergraduate Fall Total 18.0 studies in applied music, composition, Spring theory, history/literature, or other profes- MU 550 Advanced Conducting - sional areas. After satisfying Pennsylvania Choral or Instrumental 3.0 standardized testing requirements, MAT graduates will be eligible to receive K-12 MU 554 B Secondary Methods certification in music from the and Materials 3.0 Commonwealth of Pennsylvania MU 556 Secondary Student Teaching 4.0 Department of Education. In addition, com- MU 557 Music Administration pletion of the MAT program fulfills and Supervision 3.0 continuing studies requirements, so that MU 559 Research, Evaluation, and after three years of full-time teaching Technology in service, graduates may apply for permanent Music Education 3.0 certification without taking additional MU 560 B Workshop in courses. Instrumental Methods II 2.0 Music Education graduates of the Spring Total 18.0 University of the Arts are currently serving successfully as teachers, supervisors, school Total Credits 36.0 administrators, and in education-related fields such as computer software develop- ment, broadcasting, law and the arts, and private studio teaching, and as professional performers, composers, and arrangers. The MAT curriculum in music education comprises 36 credits and may be completed in one academic year schedule, if all prereq- uisites are satisfied prior to matriculation. Prerequisite requirements may be satisfied in a number of ways, including taking courses in the undergraduate MATPREP program. Professionals in the field may choose to complete the Master of Arts in Teaching in Music Education over an extended period of time on a part-time basis. The following listing presents the normal sequence of courses if completed within one year:

108 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MM in Jazz Studies Faculty Voice Jazz Studies Kelly Meashey Master of Music Strings Reginald Pindell John Blake Anne Sciolla Don Glanden [email protected] Saxophone Large Jazz Ensembles Chair, Graduate Jazz Studies Chris Farr Frank Mazzeo 215-717-6353 Ronald Kerber Evan Solot Frank Mazzeo Bill Zaccagni The Master of Music in Jazz Studies Anthony Salicondro degree has its roots in three decades of Bill Zaccagni Small Jazz Ensembles University of the Arts leadership in the field All Jazz Faculty of jazz education, carefully balancing aes- Trumpet thetic goals and a pragmatic approach to Matt Gallagher Composition and Arranging vocational responsibility in the context of Tim Hagans this American music idiom. Open to a small Evan Solot Jeff Jarvis Bill Zaccagni and highly advanced group of students who George Rabbai have an undergraduate degree in jazz studies John Swana Recording or an undergraduate degree in music with Dennis Wasko significant experience in jazz and contem- Steven Goodsell porary music, or the equivalent thereof, the Trombone programÐ while providing a solid founda- Latin American Music tion in contemporary musicÐ encourages a John Fedchook Orlando Haddad primary focus on individual career goals. Richard Genovese Marlon Simon Clint Sharman Elio Villafranca Curriculum Keyboards Music Technology Among the one-year, 32-credit program’s Samuel Dockery Steve Goodsell unique curricular components are advanced Don Glanden Thomas Rudolph private instruction in the major area to Trudy Pitts develop professional-level artistry and Elio Villafranca Jazz Improvisation and skills; hands-on internships and pedagogy Transcription study; ensemble performances; arranging, Guitar composing, transcribing and analyzing jazz Jimmy Bruno Jimmy Bruno Chris Farr and contemporary music; study of MIDI Craig Ebner and music technology; and a final Thomas Giacabetti Thomas Giacabetti Don Glanden thesis/project/ recital that integrates in- Pat Martino depth research on a topic of special Ronald Kerber Patrick Mercuri Pat Martino relevance with personal musical growth, Michael Quaile culminating in a public performance. Tony Miceli John Swana Graduate Applied Studies are the core Upright Jazz Bass/Electric of the Master of Music in Jazz Studies. Bass Additionally, applied study at the graduate Steve Beskrone level includes a pedagogy component. Charles Fambrough Teaching is a facet of almost every per- Kevin MacConnell former’s and composer’s career; coursework Tony Marino in the major applied area acknowledges this Craig Thomas importance. Gerald Veasley Students, in addition to completion of the requisite 32 credits, must take or have taken two corequisite courses of two credit hours Percussion/Drums each: Recording and The Business of Carl Allen Music. Robert Brosh Marc Dicciani Tony Miceli Joseph Nero James Paxson Marlon Simon

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 109 MM in Jazz Studies 36 credits

Fall Credits MU 592 A Applied Major Instruction 3.0 MU 615 MIDI and Music Technology 2.0 MU 617 Advanced Transcription and Analysis 3.0 MU 620 Professional Internship 1.0 MU 622 Graduate Arranging 2.0 MU 625 Advanced Improvisation 2.0 MU 627 Graduate Forum 1.0 MU 764 Ensembles 2.0 Fall Total 16.0 Spring MU 592 B Applied Major Instruction 3.0 MU 616 MIDI and Music Technology 2.0 MU 621 Professional Internship 1.0 MU 624 Composing for Performers 2.0 MU 626 Graduate Improvisation 2.0 MU 628 Graduate Forum 1.0 MU 764 Ensembles 2.0 MU 603 Graduate Project/Recital 3.0 Spring Total 16.0 Total Credits 32.0

Additional prerequisite/corequisite courses: MU 413 Recording 2.0 MU 420 Business of Music 2.0 Total 4.0 Total Credits with corequisites 36.0

110 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 ArtsBank, a technically up-to-date, 240-seat and aims to refine technique and deepen The School of theater at 601 South Broad Street that also characterization. Advanced scene study and Theater Arts houses additional instructional spaces; the an introduction to style work are also inte- University’s historic Merriam Theater at gral to this level of training. The focus of 250 South Broad Street; and a the fourth year is on classical performance Gene Terruso new flexible black box space at the and preparing the student to enter the pro- [email protected] Gershman Y, 401 South Broad Street, where fession. Students are given instruction in Director stage combat classes are also held. Design audition and camera techniques, résumé Nan Gilbert and technical support are provided by a pro- preparation, how to work with agents, etc. [email protected] duction shop, areas for both property and The fourth year culminates with an audition Assistant Director costume stock, and a video editing studio clinic given by a selected panel of agents, 211 South Broad Street inside the ArtsBank. The Albert M. directors, and casting representatives. 215-717-6450 Greenfield Library contains books, journals, and videotapes devoted to the theater arts, Bachelor of Fine Arts (BFA) The School of Theater Arts of The which are available to students for research Musical Theater Program University of the Arts is committed to devel- and coursework. The four-year Bachelor of Fine Arts oping the skills and professionalism of its Musical Theater Program prepares students students to prepare them for careers in the Programs of Study for professional careers as performers in the theater and related fields, or for advanced musical theater or for continued study in study in graduate or conservatory programs. The curriculum is conservatory-based, acknowledging that the focal point of graduate school. The program defines the The goal of the theater school is to culti- term “musical theater” in a way that vate practitioners for the live theater training in both the Bachelor of Fine Arts Acting and Bachelor of Fine Arts Musical embraces the richness and diversity of this entertainment media, communications, and challenging interdisciplinary art form, production. This is achieved by developing Theater programs is the acting instruction, and that vocal and physical training are the which includes musical comedy, the a practical knowledge and competence that musical play (in the Hammerstein- include sensitivity to technique, artistry, and principal support areas for this instruction. The first responsibility of the faculty is to Sondheim tradition), new and alternative style, as well as an insight into the role of music theater, “Broadway opera,” cabaret, the theater arts. invest students with a foundation techniqueÐ a rehearsal/performance processÐwhich they and revue. Students receive the same tech- All of the School’s degree programs nique training as do acting majors through employ a professional approach to training will continue to refine and personalize as their creative development evolves. their first five semesters. This training is and highly rigorous standards for evaluation complemented by training in vocal tech- and retention. As with any theater program, Opportunities for master classes, guest speakers, internships, and apprenticeships nique, musicianship and dance, and the production work may serve as an important study of the repertoire of the musical theater means of gauging a student’s growth in with many professional companies in the city and region are among the experiences in print, recordings, and in rehearsal and his/her respective program. It is in the performance. studio, however, where the primary efforts open to students in all School of Theater Arts programs. of both student and faculty are concentrated. Bachelor of Fine Arts (BFA) in The highly focused and demanding training Applied Theater Arts is enhanced by appropriate courses in the Bachelor of Fine Arts (BFA) Acting Program The Bachelor of Fine Arts in Applied liberal arts. These are of particular impor- Theater Arts allows students with a range of tance to the theater artist, who is charged The four-year Bachelor of Fine Arts Acting program prepares students for theatrical interests to shape their own indi- with commenting on the human condition. vidualized course of study. It is designed to The effectiveness of that commentary is careers in the professional theater or for continued study at the graduate level. In the give students the practical, artistic, and dependent upon a sincere commitment to intellectual foundation necessary for a suc- excellence in liberal arts. first year, students concentrate on finding the “core of the actor” through the study of cessful professional life in live theater and All programs within the School of Theater allied disciplines. Student artists may focus Arts require 123 credits for graduation. improvisation, monologue, emotional dis- covery, speech, and movement. In addition on theatrical disciplines such as mask, stage to fostering these acting skills, the first year combat, stage management, playwriting, Facilities of training is also designed to encourage an directing, dramaturgy, production, and arts Most facilities for the School of Theater in-depth self-analysis of the student’s com- administration. Arts are located in UArts’ new Terra mitment, discipline, and professionalism. Practical studio and production training, Building at 211 South Broad Street. These The second year is devoted to technique received in a student’s first two years, is include seminar and classroom spaces, and training, in which actors develop a sense of enriched by an understanding of the theater studios for individual voice instruction, conversational reality and strengthen their as an art, an industry, and an institution, speech, dance, movement, and acting. The imagination, responsiveness, and spon- with a history and a vital role in society. studios are well-lit and individually taneity. This level of training also addresses This foundation training will prepare the equipped with prop storage and audiovisual an actor’s skill for evoking a full and acces- student to emphasize one or more of the capabilities. Lockers and lounges are sible inner life. above-mentioned disciplines at the upper- located adjacent to the studios. The third year is dedicated to giving division levels and shape her/his own Performances are held at three sites: the shape and specificity to the actor’s behavior curriculum. Much of the senior year in the

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 111 ATA program is shaped by production proj- The Curriculum the use of selected weaponry; ects, independent study, and internships BFA Programs in Acting and ¥ an awareness of mask techniques as a arranged through the School’s close associa- platform from which characterization tion with professional companies in the Musical Theater and behavior can evolve; area. Actor training in the School of Theater ¥ basic skills in performing for the This program may prove a good choice Arts lies at the heart of the two-performance camera, a familiarity with their image in for students who are drawn to the collabora- curricula. The training is designed to culti- two-dimensional media, and some tive nature of theater. It is an ideal program vate the actor’s ability to “live truthfully experience in fundamental issues such of study for the student who has a profound under imaginary circumstances.” Students as slating, continuity, hitting marks, passion for theater and/or the entertainment develop an understanding that such truth working within frame, etc.; and field, but whose long-term interest may lie begins with a shared interconnectedness ¥ scene study skills that will serve them in outside performing. At the same time, it is a between actors onstage. the interpretation of classical material curriculum that places that student at the Early technique studies, for majors in that requires a command of both style heart of the production process. The pro- both acting and musical theater, emphasize and language. gram is also well-suited to students who the “reality of doing” as it is rooted in a full may have an interest in advanced or grad- emotional life, driven by action and BFA Program in Applied uate study. expressed with meaning, clarity, and theatri- cality. To this end, students are challenged Theater Arts A theater artist must be well-versed in a Stage Combat Program to cultivate a fuller understanding of them- selves, and to continually exercise their variety of disciplines, each vital in itself and The School of Theater Arts is home to skills as analysts of text and as observers of intimately related to all that occurs in a pro- one of the nation’s most renowned stage human behavior. duction effort. The student majoring in the combat programs, serving as host to the The program introduces students to a BFA in Applied Theater Arts is called upon annual Philadelphia Stage Combat range of approaches (Linklater, Meisner, to develop competencies across a spectrum Workshop. It is one of only a handful of LeCoq, Williamson, Fitzmaurice, Laban) as of these disciplines. As such, he/she will institutions that offers the option of an a part of their training. The successful stu- study playwriting, acting, combat, mask, eight-semester sequence of combat training. dent should emerge from the program with stage management, directing, administra- One semester of combat is required for all a practicable performance technique in tion, theater history, and dramatic literatureÐ BFA Acting majors. Although not a degree place, which enables her/him to develop and all in a context that supports theatrical pro- program in itself, students completing the sustain a role from first rehearsal to closing duction. This program is designed to requisite course of study are tested on night. provide practical training for the campus each year and, if found proficient, Students completing these programs are student/artist who possesses a collaborative certified by the Society of American Fight also expected to be knowledgeable about a perspective. The BFA in Applied Theater Directors. A year ago, the program was variety of styles and types of drama, and the Arts (ATA) allows the student/artist, in ranked third in the country, based on the challenges presented by each; to work in a his/her junior year, to move toward a con- number of certified stage combatants that vocally and physically free and efficient centration in a particular area of emphasis, emerged from its ranks. manner; to be able to identify their character such as many of those mentioned here. type and its potential range within the Upon declaring a concentration in one of casting conventions of the industry; to have these fields, a student will complete his/her a sense of how to begin to establish a career course of study via a series of production as a performer; and to possess a work ethic practica and independent study projects. that will support the collaborative nature of Internships, arranged through the School’s theatrical production. outstanding relationship with area profes- The Musical Theater Program seeks to sional theaters, will further strengthen the train students who: student’s skills and enhance his/her profes- ¥ use the singing voice in a vibrant, sional viability. The student completing this healthy, and dramatically effective program will be prepared to enter the manner; industry on either the production or the • understand music as the singing actor’s administrative end, and may pursue a range second text and clearly present its of career options or choose to pursue further expressive intentions; study in dramaturgy, directing, or several of ¥ have a solid dance technique and a com- the above fields. mand of the language of dance and movement; and Production Season ¥ integrate all component skills of The School of Theater Arts presents at musical theater performance to create least 12 major productions a year Ð six in consistently honest and expressive our subscription series, and six more in our behavior. studio series. These include comedies, Additionally, the Acting Program seeks to dramas, and musicals. Plays are selected train students who have developed: based on the educational and competitive ¥ fundamental skills in stage combat and needs of the current casting pool, and on a

112 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 four-year cycle representing styles and of all rehearsal and crew notices, as well as Professional Standards genres to which the faculty feels students School and professional audition notices. and Behavior should be exposed. Students are expected to maintain high All students in performance majors are Crew Assignments standards of professionalism in studio, required to audition for all School-spon- All students are required to serve on pro- classroom, rehearsal, and performance com- sored shows and to accept roles as cast, duction crews in their second through fifth mitments. Professionalism in rehearsal and unless excused as provided for in the School semesters. Crew assignments and calls are production is a factor in the grading for of Theater Arts Student Handbook. Students scheduled and monitored by the Production Acting studio. Failure to follow directions are also required to attend each production. Office, located in the main School of and absence from or lateness to rehearsals, These audition and attendance requirements Theater office. performances, and related activities may will be part of all acting studio syllabi. All crew members are expected to be result in Academic Censure including low- Failure to comply with these requirements prompt for crew calls. Lateness will not be ering of grade or course failure. will have a direct impact upon one’s grade tolerated. Attendance at all crew calls is in acting studio. mandatory. There are no unexcused Academic Progress absences permitted. A student who misses a A professional training environment and Absences crew call without prior permission from the an academic environment have goals that Students in the School of Theater Arts are Production Office will receive an ‘F’ for the are at once mutual and distinct. Within a tra- expected to attend all classes, studios, work- semester. ditional university, a student receiving a shops, rehearsals, and crews for which they grade of C may feel that he/she has done are registered or otherwise committed. Extracurricular Activities “adequate” work and is entitled to continue Generally, the School of Theater Arts Students in the School of Theater Arts in his/her course of training. As a university, does not make a distinction between an may not participate in any theater projects UArts recognizes this right. By the stan- excused and unexcused absence. Rather it outside the University prior to completion dards required of professional training, recognizes that in the course of a student’s of five semesters in the School of Theater however, an “adequate” grade does not sug- studies, circumstances may arise that, in the Arts. Even students who have achieved gest a student’s viability within the student’s judgment, may require absence or junior status must formally apply in writing entertainment industry. Further, the world of lateness. The general policy of the School of to the University director for such permis- play production is a meritocracy Ð i.e., Theater is that any number of absences that sion in advance of auditioning or being in a play is not a right; it is earned by result in the student missing more than the interviewing for such work. Students a consistently demonstrated work ethic, equivalent of two weeks’ work will result in involved with such projects without the command of material, and strength of skills. failure or require withdrawal from the director’s authorization will receive a grade As such, the School of Theater Arts has course in question. This standard may be of “F” in their major studio and be restricted developed the following standards by which somewhat more severe for acting studios. from moving forward in their core classes the purposes of both the academic experi- Students should consult the syllabi for (see “Academic Progress”). A second occur- ence and the requirements of professional any given course to see how this policy ance may result in dismissal from the training and production will be served. applies to the course’s number of weekly School. Instructors are specifically directed meetings and contact hours. Please refer to not to allow the absences nor scheduling The following are considered core courses: the “Absences” section of Academic arrangements that may provide such oppor- Regulations in this catalog for more infor- tunities. Acting Major mation, and to the Theater Arts Student TH 103 A Acting Studio I Handbook. Physical Demands of the TH 103 B Acting Studio II Program Advisors TH 109 A Voice and Speech for Actors I The Theater Arts program is physically TH 109 B Voice and Speech for Actors II Students are assigned advisors when they demanding. Good health and its mainte- TH 115 A Movement for Actors I enter the School of Theater Arts. Advisory nance are of paramount importance to an TH 223 Acting Studio III lists are posted in the theater lounge during actor. TH 224 Acting Studio IV the first week of the academic year. The Occasional illness or injuries are, of TH 209 A Speech for Actors III advisor conveys information from the fac- course, justification for short-term absences. TH 209 B Speech for Actors IV ulty to the student and counsels the student Specific chronic physical or emotional dis- TH 215 A Movement for Actors III in artistic and academic matters. The stu- orders that impair attendance or ability to TH 215 B Movement for Actors IV dent, however, is wholly responsible for function within the program over a longer TH 309 Speech for Actors V fulfilling his or her artistic and academic period of time should be covered by a TH 310 Speech for Actors VI obligations, and for meeting the require- formal leave of absence. TH 315 A Movement for Actors V ments for graduation. In either case, the student should confer TH 315 B Movement for Actors VI with his or her advisor as soon as a potential TH 323 Acting Studio: Technique III Call Boards health problem arises. TH 324 Acting Studio: Poetic Realism All Theater students must check the call TH 415 A Movement for Actors VII boards daily and will be responsible for all TH 423 Acting Studio: Verse Drama I official notices posted there within 24 hours. TH 424 Acting Studio: Verse Drama II The call boards are used for the posting

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 113 Musical Theater Major Grades of B-, C+, or C in core courses: not be permitted to move on to the next TH 103 A Acting Studio I ¥ student placed on Casting Restriction or level of training in that area. Because the TH 103 B Acting Studio II Production Restriction. curriculum is frequently integrated (i.e., TH 141 A Voice for Musical Theater I what is being taught in speech or dance may TH 141 B Voice For Musical Theater II Grade of C- in core courses: directly parallel what is being taught in TH 142 A Voice Lesson Ð Musical Theater ¥ student placed on Probation (refer to acting studio) the student may be prevented TH 142 B Voice Lesson “Academic Censure” in this bulletin for from moving forward in those disciplines TH 223 Acting Studio: Technique I more information), and as well. TH 224 Acting Studio: Technique II ¥ student placed on Casting Restriction or In all degree programs, both the student TH 241 Foundations of Singing/Acting Production Restriction. and the Director’s Office will be provided TH 242 A Voice Lesson Ð Musical Theater with copies of the written summation of the TH 242 B Voice Lesson Grades of D, D+ or F in core courses: student’s evaluation. A student who has not TH 318 A Musical Theater Repertory ¥ student placed on Probation (refer to shown satisfactory improvement may be TH 318 B Musical Theater Repertory “Academic Censure” in this bulletin for asked to leave the program. TH 323 Acting Studio: Technique III more information); In the BFA Acting program, in-depth TH 324 Acting Studio: Poetic Realism ¥ student placed on Casting Restriction or evaluations will be conducted in semesters TH 341 A Voice for Musical Theater V Production Restriction; two through five. These in-person evalua- TH 341 B Voice for Musical Theater VI ¥ student receives no course credit for an tions will be held with the student’s acting, TH 342 A Voice Lesson Ð Musical Theater F grade, elective credit only for the movement, and speech teacher present and TH 342 B Voice Lesson grade of D or D+; will focus specifically on the student’s work TH 423 Acting Studio: Verse Drama I ¥ student may not advance to the next and progress through the program. Ideally, TH 424 Acting Studio: Verse Drama II semester of any core training class until these sessions should recap the ongoing TH 441 A Voice for Musical Theater: the course has been repeated with a input the student has received throughout Cabaret/Audition grade of C- or better; and the term in studio. TH 441 B Voice for Musical Theater: ¥ both the original grade and repeated As a follow-up to these sessions, the stu- Cabaret/Audition grade will remain on the transcript and dent will receive a written evaluation TH 442 A Voice Lesson Ð Musical Theater will be applied to a student’s cumulative reviewing the points covered in-person and TH 442 B Voice Lesson GPA. including a statement on the student’s status in the program (i.e., reinvitation assured, Applied Theater Arts Warnings contingent upon further improvement, or TH 103 A Acting Studio I The School’s obligation to its students is in jeopardy). TH 103 B Acting Studio II to keep them abreast of their progress by The BFA in Musical Theater employs a TH 103 L Crew personal contact and review. A student will jury system by which students are evalu- TH 123 Scene & Lighting Tech I be warned if his/her performance in class is ated. Musical Theater jury exams are held at TH 123 L Scene & Lighting Tech Lab below par as defined by the instructor’s the end of semesters one to seven to eval- TH 124 Costume & Property Tech expectations expressed in the class syllabus, uate students’ progress. Each student is TH 124 L Costume & Property Tech Lab rules, etc. Such warning will be issued as a required to prepare a minimum of five songs TH 227 Fund. of Stage Management part of ongoing studio critiques, in a formal (three for first-year students) to be presented TH 317 Fund. of Directing verbal fashion at the student’s in-person before a panel of Musical Theater faculty. It HU 322 Scriptwriting evaluation (or jury), and in writing as a is expected that these songs be fully devel- TH XXX Theater Management follow-up to that evaluation. A student may oped musically and dramatically. After TH 327 Advanced Stage Management also receive such warning if he/she lacks completion of the jury, the student receives TH 3XX Production Practicum seriousness of purpose, demonstrates attitu- a written evaluation from each member of TH 3XX Production Practicum dinal behavior that proves disruptive to the the panel. TH 3XX Production Practicum ensemble or educational process, is exces- Junior musical theater majors must be TH 430 Stage to Video Production sively tardy, is not prepared to work in class, approved at midyear to proceed to advanced TH 4XX Senior Project or is not seriously committed to profes- acting technique. Not being approved for TH 4XX Senior Project sional training. such study, however, will not impede the TH 4XX ATA Seminar student’s progress toward graduation. Evaluations Initial evaluations in the BFA for Applied To remain in good standing for casting In the School of Theater Arts, progress Theater Arts are conducted at the conclu- consideration or production assignments in from one semester to the next is based not sion of the first year and throughout the the School of Theater Arts, a student must only on successful completion of course second year. The student will convene with receive a grade of B or better in the core work, but also on the faculty’s positive her/his advisor and head of program. During courses listed above. In the view of the assessment of the student’s potential for a these first evaluations, the primary issues SOTA faculty, a student whose work fails to career in the professional theater. dealt with will be the student’s satisfactory meet this level of achievement will be con- This assessment is recorded through a performance in production lab assignments sidered non-competitive by professional process of in-person and written evaluation. and aptitude in the areas of stage manage- standards. The following grades may result Students whose grade in core classes (see ment and dramaturgy. The first evaluation in in the actions indicated: “Academic Progress”) is less than C- may a student’s third year will focus on the stu- dent’s progress and a statement submitted

114 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 by the student discussing the areas of School of Theater Arts Faculty BFA Applied Theater Arts emphasis that have drawn his/her primary Program* interest. Evaluators will consider how effec- BFA Acting Program Jennifer Childs tively the student has demonstrated skills in Acting Training Kali Colton those areas. By the end of the third year, eval- Irene Baird Charles Conwell uations will focus on the student’s declared Mari Fielder area of emphasis. Jennifer Childs Johnnie Hobbs, Jr Nan Gilbert David Howey Johnnie Hobbs, Jr. Ernest Losso Aaron Posner Drucie McDaniel Ed Shockley David Newer Denise Taylor Mike Pedretti Gene Terruso Peter Pryor Jiri Zizka Rick Stoppleworth * The BFA program in Applied Theater Arts Gene Terruso draws instructors from all areas of the School Joan Twiss of Theater Arts.

Voice/Speech Training Design and Production Training Neill Hartley Edward Johnson Connie Koppe Anna Michelle Oldham Leigh Smiley-Grace Troy Martin O’Shia D’Arcy Webb

Movement Training Karen Cleighton Kali Colton Aaron Cromie Manfred Fischbeck Nancy Kantra Rebecca Lisak Tammy Meneghini Janice Orlandi Dan Rothenberg BFA Musical Theater Program Performance Training Charles Gilbert Patricia Raine Owen Robbins Rick Stoppleworth Neal Tracy

Voice Training Eric Ebbenga Mary Ellen Grant-Kennedy Theresa Greenland Forrest McClendon Patricia Raine Neal Tracy

Dance Training Karen Cleighton Rex Henriques Nancy Kantra

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 115 Acting Applied Theater Arts Bachelor of Fine Arts 123 credits Bachelor of Fine Arts 123 credits

Freshmen Year Credits Junior Credits Freshmen Year Credits Fall Fall Fall TH 103 A Acting Studio I 3.0 TH 323 Acting Studio: Technique III 3.0 TH 103 A Acting Studio I 3.0 TH 109 A Voice and Speech TH 103 L Crew 0 TH 123 Scene and Lighting Tech. 2.0 for Actors I 2.0 TH 309 Voice and Speech f TH 123 L Scene and Lighting TH 105 A Stage Combat I 2.0 or Actors V 2.0 Tech. Lab. 1.0 TH 115 A Movement for Actors I 1.0 TH 315 A Movement for Actors V 2.0 TH 113 Encounters with Theater Arts 3.0 TH 123 Scene and Lighting Tech. 2.0 TH 317 Fundamentals of Directing 3.0 TH 105 A Stage Combat I 2.0 TH 113 Encounters with Theater Arts 3.0 HU XXX Liberal Arts 3.0 HU 110 A First Year Writing I 3.0 HU 110 A First Year Writing I 3.0 Electives 3.0 Fall Total 14.0 Fall Total 16.0 Fall Total 16.0 Spring Spring Spring TH 103 B Acting Studio II 3.0 TH 103 B Acting Studio II 3.0 TH 324 Acting Studio: TH 124 Costumes and Prop Tech. 2.0 TH 103 L Crew 0 Poetic Realism 3.0 TH 124 L Costumes and Prop TH 109 B Speech for Actors II 2.0 TH 310 Voice and Speech Tech. Lab. 1.0 TH XXX Movement Elective 1.0 for Actors VI 2.0 TH 213 Script Analysis 3.0 TH 124 Costumes and Prop Tech. 2.0 TH 326 Audition Techniques 2.0 TH 101 Neutral Mask 1.0 TH 213 Script Analysis 3.0 TH 315 B Movement for Actors VI 2.0 HU 110 B First Year Writing II 3.0 HU 110 B First Year Writing II 3.0 TH 330 Acting on Camera 1.0 Electives 3.0 Spring Total 14.0 HU XXX Liberal Arts 3.0 Spring Total 16.0 Electives 3.0 Freshman Year Total 30.0 Freshman Year Total 30.0 Spring Total 16.0 Sophomore Junior Year Total 32.0 Sophomore Fall Fall TH 223 Acting Studio: Technique I 4.0 Senior Year TH 203 A Acting Studio III 3.0 TH 103 L Crew 0 Fall TH 103 L Crew 0 TH 209 A Voice and Speech TH 423 Acting Studio: Verse Drama I 4.0 TH 311 A Theater History I 3.0 for Actors III 2.0 TH 415 A Movement for Actors VII 2.0 HU XXX Arts Criticism (or equivalent) 3.0 TH 215 A Movement for Actors III 2.0 TH 419 Business of Theater 1.0 HU 103 A Intro. to Modernism I 3.0 TH 311 A Theater History I 3.0 HU XXX Liberal Arts 6.0 HU XXX Liberal Arts 3.0 HU 103 A Intro. to Modernism I 3.0 Fall Total 13.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Fall Total 17.0 TH XXX Studio Electives 8.0 TH 103 L Crew 0 Spring Electives 3.0 TH 228 Playwriting 3.0 TH 224 Acting Studio: Technique II 4.0 HU XXX Liberal Arts 3.0 TH 227 Fundamentals of TH 103 L Crew 0 Spring Total 14.0 Stage Management 3.0 TH 209 B Voice and Speech TH 351 Production Practicum 1.0 Senior Year Total 27.0 for Actors IV 2.0 TH 311 B Theater History II 3.0 TH 215 B Movement for Actors IV 2.0 HU 103 B Intro. to Modernism II 3.0 TH 311 B Theater History II 3.0 HU XXX Liberal Arts 3.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 16.0 HU XXX Liberal Arts 3.0 Sophomore Year Total 31.0 Spring Total 17.0 Sophomore Year Total 34.0

116 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Musical Theater Bachelor of Fine Arts 123 credits

Junior Credits Freshmen Year Credits Junior Credits Fall Fall Fall TH 351 Production Practicum 1.0 TH 103 A Acting Studio I 3.0 TH 323 Acting Studio: Technique III 3.0 TH 103 L Crew 0 TH 141 A Voice for Musical Theater I 1.0 TH 103 L Crew 0 TH 327 Advanced Stage TH 141 L Voice for Musical Thtr. Lab 0 TH 315 A Movement for Actors V 2.0 Management 3.0 TH 122 A Music Skills for TH 318 A Musical Theater Repertory 2.0 Electives 3.0 Musical Theater I 2.0 TH 341 A Voice for Musical Theater 1.0 HU XXX Liberal Arts 6.0 TH 142 A Voice Lesson for Musical Thtr. 1.0 TH 342 A Voice Lesson for Musical Thtr. 1.0 HU XXX Dramatic Literature Elective 3.0 TH 150 A Dance for Musical Theater I 1.0 TH 350 A Dance for Musical Theater 1.0 Fall Total 16.0 TH 123 Scene and Lighting Tech. 2.0 TH 312 A Musical Theater History I 3.0 HU XXX Liberal Arts 3.0 Spring HU 110 A First Year Writing I 3.0 TH 351 Production Practicum 1.0 TH 113 Encounters with Theater Arts 3.0 Fall Total 16.0 TH 430 Stage to Video Production 2.0 Fall Total 16.0 Spring TH 317 The Fundamentals Spring TH 318 B Musical Theater Repertory 2.0 of Directing 3.0 TH 103 B Acting Studio II 3.0 TH 341 B Voice for Musical Theater 1.0 Electives 3.0 TH 103 L Crew 0 TH 342 B Voice Lesson for Musical Thtr. 1.0 HU XXX Liberal Arts 3.0 TH 141 B Voice for Musical Theater II 1.0 TH 350 B Dance for Musical Theater 1.0 HU XXX Dramatic Literature Elective 3.0 TH 141 L Voice for Musical Thtr Lab 0 TH XXX Theater Studio Electives 3.0 Spring Total 15.0 TH 122 B Music Skills II 2.0 TH 312 B Musical Theater History II 3.0 TH 142 B Voice Lesson for Musical Thtr. 1.0 HU XXX Liberal Arts 6.0 Junior Year Total 31.0 TH 150 B Dance for Musical Theater II 1.0 Spring Total 17.0 TH 124 Costumes and Prop Tech. 2.0 Senior Year Junior Year Total 33.0 HU 110 B First Year Writing II 3.0 Fall TH 213 Script Analysis 3.0 TH 351 Production Practicum 3.0 Senior Year Spring Total 16.0 TH 419 Business of Theater 1.0 Fall Studio Electives 2.0 Freshman Year Total 32.0 TH 441 A/B Voice for Musical Theater: HU XXX Dramatic Literature Elective 3.0 Cabaret 1.0 HU XXX Liberal Arts 6.0 Sophomore TH 442 A/B Voice Lesson for Musical Thtr. 1.0 Fall Total 15.0 Fall TH XXX Movement Elective 1.0 HU XXX Liberal Arts 6.0 Spring TH 223 Acting Studio: Technique I 4.0 Electives 4.0 TH 460 Production Practicum 3.0 TH 103 L Crew 0 TH 452 Senior Project 3.0 TH 242 Voice Lesson for Musical Thtr. 1.0 Fall Total 15.0 TH 326 Audition Techniques 2.0 TH 209 A Voice and Speech Spring TH 449 Internship 6.0 for Actors III 2.0 TH 441 A/B Voice for Musical Theater: Studio Electives 2.0 TH 250 A Dance for Musical Theater 2.0 Cabaret 1.0 TH 222 A Music Skills III 2.0 Spring Total 16.0 TH 442 A/B Voice Lesson for Musical Thtr. 1.0 HU 103 A Intro. to Modernism I 3.0 TH XXX Movement Elective 1.0 Senior Year Total 31.0 Fall Total 14.0 TH 419 Business of Theater 1.0 Spring HU XXX Liberal Arts 6.0 TH 224 Acting Studio: Technique II 4.0 Electives 4.0 TH 103 L Crew 0 Spring Total 16.0 TH 242 Voice Lesson for Musical Thtr. 1.0 Senior Year Total 31.0 TH 209 B Voice and Speech for Actors IV 2.0 TH 250 B Dance for Musical Theater 2.0 TH 222 B Music Skills for Musical Thtr. IV 2.0 TH 241 Found. of Singing Acting 2.0 HU 103 B Intro. to Modernism II 3.0 Spring Total 16.0 Sophomore Year Total 30.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 117

College of Media and Communication

Undergraduate and Graduate Course Catalog 2003 • 2004 College of Media and Programs of Study The College of Media and Communication is dedicated to the inte- Communication gration of art, technology, and communication. In recognition of the new artistic opportunities that have recently emerged and of the Neil Kleinman importance of technology in many areas of communication, pro- [email protected] grams in the College of Media and Communication are characterized Dean by their reliance on text, their use of appropriate technologies, and 215-717-6590 their commitment to collaboration and other strategies that take advantage of individual expertise and vision placed in a cooperative Barbara Spodobalski setting. [email protected] A distinctive aspect of the programs in the College is their multi- Assistant to the Dean disciplinary nature. Specialized courses that are unique and essential 215-717-6024 to the field are augmented by major courses drawn from various pro- grams throughout the University, and students are encouraged to The College of Media and Communication has approval of the explore The University’s vast artistic and academic offerings through Commonwealth of Pennsylvania to grant Bachelor of Fine Arts and electives and minor courses of study. Bachelor of Science degrees as part of The University of the Arts. The programs offered in the College are: The newest of The University’s three colleges, the College of ¥ BS in Communication Media and Communication provides a crossroads for students inter- ¥ BFA in Multimedia ested in performing and visual arts, writing and narrative, new ¥ BFA in Writing for Film and Television media, new technology, and interactivity. In small classes, students Each program is designed as a rigorous sequential course of study, take advantage of an extremely close and supportive atmosphere, and balancing major requirements with electives and a 42-credit liberal the opportunity to shape an education that is highly individualized arts core. As a result, each program promotes an education that is and able to reflect their goals and interests. broad and deep, as well as being practical and richly theoretical. Students graduate knowing both how to make ideas using a diverse set of media while also learning to think about what they are making and why. To extend their education, CMAC students may also develop spe- cialized competencies by taking minors in a number of new areas: ¥ Documentary Video ¥ E-Music ¥ E-Publishing ¥ Game Design ¥ Information Architecture ¥ Multimedia ¥ Narrative Video ¥ Screenwriting ¥ Strategic Advertising ¥ Web Design ¥ Web Drama These minors have been designed to complement the College’s majors, and have been developed with an eye both to new forms of creative expression and the new careers that have emerged as a result of the Internet and the growth of new media. Special Facilities & Resources The College of Media and Communication is housed in the recently renovated Terra Building where students and faculty have access to excellent facilities and equipment. Production Studio The College houses a multi-functional production studio available for use by students in the College’s video, audio, advertising, and journalism classes. The studio offers students a flexibly designed space in which to produce documentary television features, educa- tional video and films, news features, corporate media, and television commercials. Associated with it is a sound studio that also serves as the center for the Communication Department’s Web radio and Webzine.

120 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Digital Labs and Editing Rooms New Media Center Students in Communication use a digital lab with a range of state- Chris Garvin of-the-art audio and video systems, pre- and post-production equip- Director ment, PC, Mac, and Unix systems, and a complete spectrum of audio, The University of the Arts is proud to be a member of the New video, and Web software used to create films, videos, advertising Media Centers, a group of the nation’s leading academic institutions campaigns, and Web dramas. In addition, there is a logging and dub- and technology corporations dedicated to the advancement of tech- bing studio, as well as several private editing suites available to nology in education. The University of the Arts is one of the few art students who need a quiet place and long blocks of uninterrupted schools worldwide to be welcomed into this organization, whose time to edit their work. members include New York University, Cornell, MIT, and UCLA. The University of the Arts’ New Media Center (NMC) is a state- Multimedia Studios and Labs of-the-art digital laboratory that provides Internet access and permits The College’s multimedia studios provide students with the most the integration of text, graphics, imagery, animation, music, and advanced multimedia equipment in the region. The cross-platform sound. While the entire University community uses these labs, the production environment spans Macintosh, PC, and Unix-based oper- NMC is the primary classroom for students in the College’s ating systems. A MAVIO station (Mobile Audio-Visual Input/Output) Multimedia Program. allows users to input analog and digital information and to output digital and analog information as well. These studios are equipped CMAC Minors with industry-standard software from which students can create illus- The College of Media and Communication offers minors that trations, scan images, record sounds, digitize video, and create enable a student to focus on a specific discipline through organized CD-ROMs. Students in the Multimedia Program use these labs to electives. All of the CMAC minors have been designed to comple- work on video games, animations, Web narratives, interactive ment the majors students take and are intended to add skills and Websites, and digital videos. experience that enrich the major as well as strengthen the capabilities of students in a variety of fields upon graduating from the University. MIDI Studio A minor advisor will be assigned by the student’s major program The College features a MIDI Studio (Musical Instrument Digital director, except in the case of Information Architecture and Web Interface), which is used by students in multimedia and e-music to Design minors. Students interested in those minors will be advised by create electronic and experimental music for documentary and narra- the Director of the Multimedia department. tive film and video, Web drama, and games. Students wishing to include a minor are governed by the following guidelines: Equipment Room 1. Except as indicated, CMAC minors are only available to stu- The College’s Equipment Room offers CMAC students the oppor- dents majoring in degree programs offered by the College of Media tunity to borrow the most current portable video, audio, and and Communication. photographic equipment for off-campus production. The equipment 2. A student may not take a major and a minor in the same subject. includes digital video and still cameras, DAT and Minidisk audio 3. Courses applied to the minor may not be used for the major, but recorders, Lowell location lighting kits, and an array of microphones, they may be used as elective credits. field monitors, and accessories. 4. All minors require a minimum of 15 credits, which are defined by the department; generally, no substitution is allowed. Galleries 5. Students must declare their intent to complete a minor by com- There are a number of galleries and display areas throughout the pleting the Minor Declaration Form available in the Office of the College that are highly flexible, equipped with professional lighting, Registrar. Both the student’s major and minor advisors must sign this and supported by multimedia equipment for the display of work in all form. media. There are periodic shows of student documentaries, final proj- 6. A student pursuing a minor may be required to complete more ects and works-in-progress developed by students as part of their than the minimum number of credits required for graduation. classes or independent study, as well as shows of work by faculty and 7. Minors are available only to undergraduate students. distinguished outsiders. 8. Students wishing to pursue a minor must meet eligibility requirements, which may include a satisfactory grade-point average, Special Resources prerequisites, and departmental portfolio review. To provide its students with experience in publishing new media, 9. The minor advisor must approve all courses taken as part of a the College sponsors a student-run Webzine, a Web radio, hosts a minor. number of student- and alumni-produced Websites, and supports stu- dent-developed videos, games, and interactive projects.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 121 Documentary Video Minor E-Publishing Minor The minor in documentary video provides instruction in the The minor in e-publishing provides students with skills connected to making of creative non-fiction stories, essays and informational pro- both the craft and business of writing and publishing online. This minor grams, primarily in video form. It is designed for students who wish provides students with an opportunity to strengthen their journalistic to augment their studies in a related field. Through this minor, stu- and expository writing styles especially as used in electronic media, dents learn to document the lives and narratives of people and places, while also learning the basics of the business of establishing a Website, portray historical, political and contemporary events, present infor- Webzine, Web radio, or Weblog. The skills learned are useful for stu- mation in accessible and stimulating forms, and make persuasive dents who are interested in online publishing as an independent arguments, as well as to learn the skills related to documentary pro- publisher or freelance writer, as well as those who wish to work with duction. Communication majors may not declare a Documentary online publishing enterprises. Majors in Communication may not Video minor. declare an E-Publishing minor.

CM 293 History of Documentary 3.0 credits CM 381 Digital Journalism I 3.0 credits CM 391 Documentary Production I 3.0 HU 272 Money Matters: CM 392 Documentary Production II 3.0 Applied Economics 3.0 Elective* 3.0 CM 340 E-Publishing Thesis Project 3.0 One of the following: Elective** 3.0 CM 120 Sound Communication 3.0 One of the following: PF 320 Film Sound 3.0 MM 221 Interactive Studio I* 3.0 MM 340 Interactive Programming 3.0 *To be determined with minor advisor. *Not applicable as minor credit for Multimedia majors. E-Music Minor **To be determined with minor advisor. The minor in e-music offers students majoring in both Multimedia and Music an opportunity to create electronic and experimental Game Design Minor music, to develop skills that allow them to produce, package, and dis- The minor in game design explores the principles that inform tribute music by taking advantage of digital technology, and to design games Ð how they work, how to make them, why they are important, electronic instrumental interfaces. The minor prepares students for a and how they help us understand our world and social interactions. variety of highly entrepreneurial careers ranging from entertainment Students learn to construct logical narratives and rules that make pos- and product development to creative and production work in the sible the creation of an active space in which gaming can take place. recording and musical fields. This minor is only available to students Using skills based upon interface and experience design, students majoring in Multimedia or Music. Please note that this minor reqi- program, write, and design interactive games. Upon completing the ures 17 credits for Music majors. minor, students will have completed a fully functional prototype of an original game. MU 306 History of Rock & Experimental Music 3.0 credits MM 240 Writing for Games 3.0 credits MU 413 A Recording 2.0 MM 342 Game Play 3.0 MM 370 E-Music Thesis Project 3.0 MM 344 Game Design Thesis 3.0 Elective ** 3.0 For Multimedia Majors One of the following: MU 111 A/B Composition/Non-Majors 2.0 MM 221 Interactive Studio I *+ 3.0 MM 440 Innovative Interfaces 3.0 MM 222 Interactive Studio II * 3.0 MU 130 A/B Piano for Non-Majors (1/1) 2.0 MM 341 Programming for Games 3.0

For Music Majors *Not applicable as minor credit for Multimedia majors. MM 110 Visual Concepts I 3.0 +Not applicable as minor credit for Communication majors. MM 121 Introduction to **To be determined with minor advisor, must be fulfilled Interface Design 3.0 with MM 121 for Writing for Film and Television majors. One of the following: MM 221 Interactive Studio I 3.0 MM 222 Interactive Studio II 3.0

122 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Information Architecture Minor Narrative Video Minor The minor in information architecture shows students how The minor in Narrative Video explores digital video as a medium designed information creates meaning. Students develop an under- for storytelling. It introduces students to various aspects of video pro- standing of user workflow, information design, and interactivity. duction, including scriptwriting, storyboarding, editing, sound They learn to create easy-to-use interfaces and information spaces. design, directing, and producing. Students develop their skills as they The program has been created for students interested in developing advance from scene exercises through a short film to a final year-long web sites and CD-ROMs, as well as other vehicles whose purpose is project. This minor is open to all UArts majors, except those in to deliver information clearly and efficiently. This minor is available Film/Digital Video. to students majoring in any program in the University except Multimedia. A portfolio review and interview are required before a One of the following: student is accepted into the minor. WM 219 Writing for Film* 3.0 credits CM 295 Narrative Video MM 121 Introduction to Production Workshop 3.0 Interface Design 3.0 credits PF 410 A Senior Cinema Production I 3.0 MM 130 Information Concepts 3.0 PF 410 B Senior Cinema Production II 3.0 MM 221 Interactive Studio I 3.0 One of the following: MM 222 Interactive Studio II 3.0 CM 120 Sound Communication** 3.0 MM 320 Advanced Interface Seminar 3.0 PF 320 Sync-Sound for Narrative Film** 3.0 Multimedia Minor The minor emphasizes the development of multimedia as an art *Not applicable as minor credit for Writing for Film and form, where students work in-depth to develop media-rich, multi-sen- Television majors. A production, film studies, or Liberal Arts film- sorial, interactive experiences. The minor provides skills, concepts, related elective is taken instead, and is to be determined with minor and tools for students interested in multimedia as a creative and adviser. expressive art form. This minor is available to students majoring in **Not applicable as minor credit for Communication majors. A any program in the University except Multimedia. production, film studies, or Liberal Arts film-related elective is taken instead, and is to be determined with minor adviser. MU 149 Aural Concepts 3.0 credits MM 219 Intro. to Multimedia 3.0 Recommended electives for Communication and Writing for Film MM 310 Multimedia Studio I 3.0 and Television majors include: CM 391 Documentary Media MM 311 Multimedia Studio II 3.0 Production I; PF 423 Professional Practices in Film/Video; PF 424 One of the following: Time: A Multidisciplinary Seminar; WM 215 Screenwriting II; WM MM 111 Visual Concepts 3.0 225 Interactive Writing; WM 241 Arts of the Media; WM 243 Acting EM 110 Computer Concepts 3.0 and Directing for Writers. MM 231 Digital Storytelling 3.0 Screenwriting Minor The minor in screenwriting provides instruction and applied expe- rience in the craft of scriptwriting for motion pictures and episodic television. Topics include story structure, character, plot, beats, dra- matic conflict, dialogue, and industry script formats. Students advance from scene exercises through short scripts to major, profes- sional-length portfolio pieces. Majors in Writing for Film & Television may not declare a screenwriting minor.

WM 215 Screenwriting II 3.0 credits WM 219 Writing for Film 3.0 WM 243 Screenplay Analysis 3.0 One of the following sequences: WM 321 Adv. Screenwriting I 3.0 WM 322 Adv. Screenwriting II 3.0 or WM 317 Episodic TV Writing I 3.0 WM 318 Episodic TV Writing II 3.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 123 Strategic Advertising Minor Web Drama Minor The minor in advertising strategy provides instruction in strategic The minor in web drama allows students to learn and apply dra- thinking and creative execution required to design advertisements and matic storytelling techniques to the web. It focuses on the ad campaigns in multiple formats (print, audio, video, and interactive). fundamentals of scriptwriting and interactivity, the acquisition of This minor offers tools and concepts to students interested in marketing basic video and animation techniques, and the overall adaptation of and promoting any product, service, or artistic activity. It broadens the these elements to the Internet. The minor allows students to combine career options of students in any of the media and communication disci- the principles necessary to write for television, film, or video with plines, and prepares them to work in both the profit and not-for-profit those of interactivity required for web production. Upon completion sectors of the media and communication industries. Communication of this minor, students will have written and produced a dramatic majors may not declare a strategic advertising minor. story that is suitable for web distribution.

CM 271 Creative Concepts I 3.0 credits WM 225 Interactive Writing I 3.0 credits CM 371 Advertising Strategy 3.0 WM 226 Interactive Writing II 3.0 CM 372 Creative Concepts II 3.0 MM 330 Web Drama Studio 3.0 Elective*** 3.0 One of the following: One of the following: WM 219 Writing for Film* 3.0 CM 211 Writing for Media* 3.0 MM 221 Interactive Studio I** 3.0 CM 373 Introduction to One of the following: Public Relations** 3.0 CM 120 Sound Communication*** 3.0 CM 290 Video Production *Not applicable as minor credit for Multimedia majors. Workshop**** 3.0 **Required for Multimedia majors. MM 233 Interactive Narrative***** 3.0 ***To be determined with minor advisor. *Not applicable as minor credit for Writing for Film and Web Design Minor Television majors. Required for Communication and Multimedia The minor in web design provides skills, concepts and tools for majors. students interested in web design as a creative medium of expression, **Applicable as minor credit only for Writing for Film and as a form of communication or as a profession. The skills learned Television Students. enhance the preparedness of students wishing to enter the design, ***Not applicable as minor credit for Communication majors. communication and media industries. Fine artists interested in the ****Not applicable as minor credit for Writing for Film and role that Internet-based technologies and interactivity play in their Television majors. work will also find this minor to be broadening. Multimedia majors *****Not applicable as minor credit for Multimedia majors. may not declare a web design minor.

MM 121 Introduction to Interface Design 3.0 MM 311 Multimedia Studio II 3.0 One of the following: MM 110 Visual Concepts I# 3.0 MM 111 Visual Concepts II* 3.0 Two of the following: MM 221 Interactive Studio I**+ 3.0 MM 222 Interactive Studio II*+ 3.0 MM 3320 Advanced Interface Seminar 3.0

*Required for Communication majors. **Not applicable as minor credit for Communication majors + Required for Writing for Film and Television majors

124 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 College of Media and Dave Hartl Jeff Ryder Communication Faculty Assistant Professor Director, Writing for Film and Television BM, West Chester University Associate Professor Susan Barry BA, Rider College Senior Lecturer Susan Jacobson BFA, Nova Scotia School of Art Adjunct Assistant Professor Steven Saylor and Design BS, University of Florida Assistant Professor MA, University of Sussex MPS, New York University BA,Franklin and Marshall College MA, MFA, Temple University David Brown Ron Kanter Assistant Professor Master Lecturer Art Stiefel BS, Duquesne University BS, Temple University Senior Lecturer MTS, Eastern Baptist Theological MFA, University of Pennsylvania BFA, The School of Visual Arts Seminary Nicole Marie Keating Mark Viggiano Tsia Carson Assistant Professor Senior Lecturer Adjunct Assistant Professor BA, McGill University BS, Saint Joseph’s University BFA, Nova Scotia School of Art & Design MA, PhD, University of Pennsylvania MA, Rowan University MFA, The Ohio State University K. Lynne Koval-Bauer Diane Walsh Geoff DiMasi Assistant Professor Associate Professor Assistant Professor BA, University of Texas at Austin BA, San Jose State University BA, Rutgers University BA, University of Akron MFA, The University of the Arts Michael Wellenreiter Sharon Lefevre Senior Lecturer Barry Dornfeld Assistant Professor BS, University of Wisconsin, Madison Director, Communication BA,Princeton University MFA, Temple University Associate Professor MA, MPhil, Columbia University BA,Tufts University Jeffrey Wolper MA, PhD, University of Pennsylvania Larry Loebell Adjunct Associate Professor Adjunct Assistant Professor BA, LaSalle University De Angela Duff BA,MFA,Temple University MS, PhD, University of Pennsylvania Assistant Professor MA, Colorado State University BFA, Georgia State University BS, Georgia Institute of Technology Slavko Milekic Associate Professor Mark Ellis MSc, MD, Belgrade University, Yugoslavia Master Lecturer PhD, University of Connecticut BA, Pennsylvania State University Jack Murnighan Louis Fuiano Assistant Professor Senior Lecturer BA,Brown University BA,Tyler School of Art, Temple University MA, PhD, Duke University

Chris Garvin Camille A. Paglia Director, Multimedia University Professor Assistant Professor BA, State University of New York BFA, State University of New York at Binghamton at Buffalo MPhil, PhD, Yale University MFA, The Ohio State University Theta Pavis Randi Glatzer Senior Lecturer Senior Lecturer BA, University of California BS, State University of New York at Los Angeles at Binghamton MS, Columbia University Graduate School of Journalism JoAnn Greco Senior Lecturer John J. H. Phillips BA,New York University Senior Lecturer

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 125 Freshmen take courses that offer both an Communication Communication historical and a social perspective to commu- nication, while they learn visual and sound Core Curriculum Barry Dornfeld fundamentals through introductory studio The core curriculum is common to all majors in the [email protected] courses. They are introduced to field-based Communication program. These required courses Director imaging equipment and post-production stu- develop a solid foundation from which students 215-717-6470 dios, and begin to produce and critique their pursue their choice of concentration. Students for- own work. mally select their concentration during the advising Media makers occupy a place of great The year-long Media Forms and Contexts period in the fall of the junior year. course in the sophomore year acts as a key- influence and importance in our increasingly Freshman Year Credits stone to the basic Communication curriculum mediated world. This studio-based Fall Communication program is designed to and intensive screening of mainstream and CM 120 Sound Communication 3.0 reflect the changing nature of the media alternative media forms. The course gives CM 250* History of Communication 3.0 industries due to new technologies, demo- students experience in producing in a broad graphic diversity, and the increase in global range of media genres. The Interactive Studio MM 110 Visual Concepts I 3.0 flows of ideas, images, and products. Upon and Writing for Media courses round out this HU 110A First Year Writing I 3.0 their graduation, we expect our students to be year. HU 103A Intro. to Modernism I 3.0 able to work in a variety of media forms, to In the junior year, students work more Fall Total 15.0 intensively in each of the program concentra- be broadly knowledgeable about the media Spring tions Ð Documentary Production, Digital industry, and able to think critically about CM 290 Video Production Workshop 3.0 media making and the media’s impact on cul- Journalism, and Advertising. Media Industries and Communication Theory and MM 130 Information Concepts 3.0 ture and society. Electives 3.0 Students learn how to create work in one Culture in the 20th Century deepen students’ understanding of the changing landscape of HU 110B First Year Writing II 3.0 or more of three principal concentrations: HU 103B Intro. to Modernism II 3.0 documentary production, digital journalism, media industries and their cultural impact. and advertising using the digital tools of the For their senior year, students choose one Spring Total 15.0 trade. While developing professional skills in of the three concentrations as the focus of Freshman Year Total: 30 .0 these areas, they are exposed to theory in their studio work, taking a year-long team- communication and media studies, grounding based studio course. Through this intensive Sophomore Year training, students develop a portfolio of their production work in an understanding of Fall how to think about media and its place in media work, pulling together their previous experiences and interests into a project that CM 201 Media Forms and Contexts I 4.5 contemporary culture. Students learn about CM 211 Writing for Media 3.0 the connections between aesthetic can represent their abilities to the profes- sional world. Additional courses, including PF 220 Intro. to Documentary approaches and communicated meaning, Photography 3.0 about the history of communication, and two internships, prepare students for profes- Electives 3.0 about cultural context and organizational sional life beyond the University. HU XXX Liberal Arts 3.0 constraints, and grapple with the ethical con- In addition to the major, students may siderations that arise in professional practice. minor in a five-course sequence designed to Fall Total 16.5 Throughout their undergraduate training, augment of their major. Students in Spring students take a range of courses in the liberal Communication are particularly interested in CM 202 Media Forms and Contexts II 4.5 minoring in digital filmmaking, e-publishing, arts and choose electives throughout the CM 271 Advertising: screenwriting, or web drama. The University. Students’ production work builds Creative Concepts I 3.0 Department also offers minors in documen- on this intellectual base, beginning with exer- MM 221 Interactive Studio I 3.0 cises and growing to intensive projects in the tary video and strategic advertising, which are available to students in the other majors Electives 3.0 selected area of concentration. The program HU 272 Money Matters 3.0 stresses digital media production across plat- by the College. Spring Total 16.5 forms and promotes an understanding of what these new tools make possible and what Sophomore Year Total: 33.0 they limit.

* Indicates discipline history requirement.

126 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Advertising Concentration Digital Journalism Documentary Production 123 credits Concentration 123 credits Concentration 123 credits Students learn to work in the creative sectors of the Students learn to combine research, reporting, Students learn to use video and audio technologies to advertising industry by combining creative skills, writing, editorial, and interactive design skills by capture real-world stories in moving images. Courses strategic thinking, and the use of multiple media. developing news-based material for online publica- emphasize technique, project management, and tions. moving from concept through research to execution Junior Year Credits of documentary projects. Fall Junior Year Credits CM 371 Advertising Strategy Fall Junior Year Credits Development 3.0 CM 381 Digital Journalism I 3.0 Fall CM 381 Digital Journalism I 3.0 CM 391 Documentary Media Prod. I 3.0 CM 381 Digital Journalism I 3.0 CM 391 Documentary Media Prod. I 3.0 CM 260 * Media Industries 3.0 CM 391 Documentary Media Prod. I 3.0 CM 260 * Media Industries 3.0 Electives 3.0 CM 260 * Media Industries 3.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Electives 3.0 Fall Total 15.0 Fall Total 15.0 HU XXX Liberal Arts 3.0 Spring Spring Fall Total 15.0 CM 372 Adv: Creative Concepts II 3.0 CM 382 Digital Journalism II 3.0 Spring CM 373 Intro. to Public Relations 3.0 CM 383 News and Culture CM 392 Documentary Media Prod. II 3.0 CM 251* Communication in the Digital Age 3.0 CM 393 History of Documentary 3.0 Theories and Culture 3.0 CM 251* Communication CM 251* Communication Electives 3.0 Theories and Culture 3.0 Theories and Culture 3.0 HU XXX Liberal Arts 3.0 Electives 3.0 Electives 3.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Junior Year Total: 30.0 Spring Total 15.0 Spring Total 15.0 Junior Year Total: 30.0 Junior Year Total: 30.0 Senior Year Fall Senior Year Senior Year CM 461 Senior Studio I 4.5 Fall Fall CM 499 Internship 1.5 CM 461 Senior Studio I 4.5 CM 461 Senior Studio I 4.5 Electives 3.0 CM 499 Internship 1.5 CM 499 Internship 1.5 HU XXX Liberal Arts 6.0 Electives 3.0 Electives 3.0 Fall Total 15.0 HU XXX Liberal Arts 6.0 HU XXX Liberal Arts 6.0 Spring Fall Total 15.0 Fall Total 15.0 CM 462 Senior Studio II 4.5 Spring Spring CM 435 Current Issues in Comm. 3.0 CM 462 Senior Studio II 4.5 CM 462 Senior Studio II 4.5 CM 499 Internship 1.5 CM 435 Current Issues in Comm. 3.0 CM 435 Current Issues in Comm. 3.0 Electives 3.0 CM 499 Internship 1.5 CM 499 Internship 1.5 HU XXX Liberal Arts 3.0 Electives 3.0 Electives 3.0 Spring Total 15.0 HU XXX Liberal Arts 3.0 HU XXX Liberal Arts 3.0 Senior Year Total: 30.0 Spring Total 15.0 Spring Total 15.0 Senior Year Total: 30.0 Senior Year Total: 30.0 * Indicates discipline history requirement. * Indicates discipline history requirement.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 127 As a means of expanding their under- Multimedia standing of the arts, developing a sensitivity to the traditional media, and beginning or Chris Garvin advancing a skill in a particular art discipline [email protected] that they can bring to their collaborative proj- Director ects, freshmen select an elective course from 215-717-6322 any department in the University. Presentation of a portfolio and/or audition The comprehensive nature of its academic and permission of the instructor may be programs makes The University of the Arts required for entry to these classes. an ideal setting for an education in the Built on the foundation of the first year, emerging fields of multimedia. Our goal is to the sophomore curriculum addresses in develop the cultural producers of the next greater depth components of multimedia millenniumÐnot merely participants, but the such as the moving image, writing and con- avant-garde of the many industries affected tent, and interactivity. A discipline history by the advent of our knowledge-based course reviews the development of multi- economy. Internet, communications, pub- media and analyzes its historical influences. lishing, software, and entertainment, in Multimedia students are encouraged to addition to the fine arts, are the most notable develop a secondary concentration in another of the industries ready to incorporate multi- art form as a specialty within multimedia. media into their core endeavors. The electives fulfill that function as well as The major in multimedia at The University encourage a diversity of interests among the of the Arts focuses on the integration of multimedia students. image, sound, text, and interactivity into Students in their junior year refine their communicative works, whether they be for craft with advanced work in multimedia that commercial or fine arts audiences. In our focuses on completion, presentation, and col- holistic approach to the creation of these laboration in a project-based environment. works, we stress craftsmanship, collabora- Thus they are prepared both conceptually and tion, seamless integration of diverse media, technically for the integrated work required and artistic excellence. Working with today’s in the senior year. technology, students create a variety of multi- The senior-year curriculum enables stu- media works in a collaborative studio dents to synthesize the concepts and environment, while they develop a concep- techniques learned during the first three years tual and social perspective on the work they while preparing them for entry into the pro- and others create. fession. In the Senior Studio, full-length The curriculum consists of a four-year projects with self-directed themes allow stu- studio sequence accompanied by a corre- dents to explore the art of multimedia and its sponding intellectual sequence that includes potential for personal expression and com- a generous amount of liberal arts and elective munication. In the Business Seminar and the courses. Freshmen are introduced to the basic Special Projects courses, multimedia profes- aesthetic and technical issues essential to sionals address professional practice, multimedia; these are approached visually, essential business skills, and current industry aurally, and textually. Students develop an issues in order to prepare graduates to pursue understanding of the history and evolution of satisfying careers in multimedia. multimedia; the ability to work collabora- Students in Multimedia may also take five- tively; basic design skills; facility in the use course minors, several of which have been of digital tools; sensitivity to general commu- designed specifically to complement their nication concepts; and an understanding of major. Of particular interest for students in the principles of music and of information Multimedia are minors in e-music, game management for multimedia design. design, and digital filmmaking. The Department also offers minors in information architecture, e-publishing, multimedia, and web design, which are available to students majoring in programs throughout the College.

128 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Multimedia Bachelor of Fine Arts 123 credits

Freshman Year Credits Junior Year Credits Fall Fall MM 110 Visual Concepts I 3.0 MM 310 Multimedia Studio I 3.0 MM 130 Information Concepts 3.0 MM 320 Advanced Interface Seminar 3.0 MU 149 A Aural Concepts I 3.0 Electives 3.0 HU 103 A Intro. to Modernism I 3.0 HU XXX Liberal Arts 6.0 HU 110 A First Year Writing I 3.0 Fall Total 15.0 Fall Total 15.0 Spring Spring MM 311 Multimedia Studio II 3.0 MM 111 Visual Concepts II 3.0 MM 350 Business Seminar 2.0 MM 121 Intro. to Interface Design 3.0 Electives 3.0 MU 149 B Aural Concepts II 3.0 HU XXX Liberal Arts 6.0 Electives 2.0 Spring Total 14.0 HU 103 B Intro. to Modernism II 3.0 Junior Year Total: 29.0 HU 110 B First Year Writing II 3.0 Spring Total 17.0 Senior Year Freshman Year Total: 32.0 Fall MM 410 Senior Studio I 4.0 Sophomore Year MM 472 Special Projects in Fall Multimedia 3.0 MM 221 Interactive Studio I 3.0 Electives 3.0 MM 271 * Survey of Multimedia 3.0 HU XXX Liberal Arts 6 .0 MM 223 Interactive Narrative 3.0 Fall Total 16.0 Electives 3.0 Spring HU XXX Liberal Arts 3.0 MM 411 Senior Studio II 4.0 Fall Total 15.0 Electives 6.0 Spring HU XXX Liberal Arts 3.0 MM 150 Collab. and Spontaneity Sem. 3.0 Spring Total 13.0 PF 332 Video and Animation Tech. 3.0 Senior Year Total: 29.0 CM 211 Writing for Media 3.0 MM 222 Interactive Studio II 3.0 Electives 3.0 * Fulfills three credits of the discipline history HU XXX Liberal Arts 3.0 requirement. Spring Total 18.0 Sophomore Year Total: 33.0

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 129 Writing for Film Writing for Film and Television and Television Bachelor of Fine Arts 123 credits Jeff Ryder Junior Year Credits [email protected] Freshman Credits Director Fall Fall 215-717-6466 WM 113 Dramatic Structure I 3.0 WM 321 Advanced Screenwriting I 3.0 WM 253* History of Television 3.0 WM 341 Acting/Directing for Writers 3.0 Writing for Film and Television is an WM 251 Narrative Cinema I 3.0 Choose one of the following two: undergraduate program dedicated to the art HU 110 A First Year Writing I 3.0 HU 411 B***Shakespeare 3.0 of dramatic writing for film and television. HU 103 A Intro. to Modernism I 3.0 HU 413*** Literature and Film: The dramatic script serves as the creative Fall Total: 15.0 From Text to Screen blueprint for the collaborative creation in Electives 6 .0 Spring film and television. The curriculum for the HU XXX Liberal Arts 3.0 WM 114 Dramatic Structure II 3.0 program aims to educate and prepare stu- Fall Total: 18.0 dents for the professional world in this WM 252 Narrative Cinema II 3.0 unique genre of writing. HU 264** Modern American History 3.0 Spring A four-year sequence of studio writing HU 110 B First Year Writing II 3.0 WM 322 Advanced Screenwriting II 3.0 courses act as the cornerstone of the cur- HU 103 B Intro. to Modernism II 3.0 WM 317 Episodic TV Writing 3.0 riculum. Starting with Dramatic Structure in Spring Total: 15.0 WM 315 Adaptation from Fiction 3.0 the first year, students will create their own Electives 6.0 Freshman Year Total: 30.0 written work in an intensive workshop envi- Spring Total: 15.0 ronment. In the second year, screenwriting is Sophomore Year introduced, along with script analysis. In the Junior Total: 33.0 third and fourth years, students will be Fall writing full-length scripts for film. WM 214 Screenwriting I 3.0 Senior Year Adaptation from fiction and nonfiction WM 343 Film Story Analysis 3.0 Fall sources complements students’ original WM 241 Arts of the Media 3.0 WM 411 Senior Thesis I 3.0 written work. To appreciate the art form, as HU 320 A* Found. of WM 316 Adaptation from Non Fiction 3.0 well as the collaborative spirit of film and tel- Western Literature I 3.0 Electives 6 .0 evision, there are courses in film and video HU XXX Liberal Arts 3.0 HU 390 Mass Media and the Arts 3.0 production, as well as survey courses in the Fall Total: 15.0 history of film and television. A strong liberal Fall Total: 15.0 Spring arts experience in drama, literature, and his- Spring WM 215 Screenwriting II 3.0 tory gives students the breadth of knowledge WM 412 Senior Thesis II 3.0 WM 243 Screenplay Analysis 3.0 required of the professional writer. WM 499 Internship 3.0 CM 290 Video Production Workshop 3.0 Internships in the senior year will provide Electives 6.0 HU 320 B* Found. of students with an exposure to a professional HU XXX Liberal Arts 3.0 work setting. Western Literature II 3.0 In addition to the major, students may take HU XXX Liberal Arts 3.0 Spring Total: 15.0 several minors in five-course sequences Spring Total: 15.0 Senior Year Total: 30.0 designed to complement their major. Sophomore Year Total: 30.0 Students in Writing for Film and Television are particularly interested in the minors in * Fulfills three credits of the discipline digital filmmaking, documentary video, history requirement. game design, strategic advertising, or Web ** Fulfills three credits of the social sciences drama. The department also offers a minor in requirement. screenwriting available to students in the *** Fulfills three credits of the literature other majors offered by the College. requirement.

130 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Course Descriptions

Undergraduate and Graduate Course Catalog 2003 • 2004 AE 509 AE 533 Art Education Educational Media B: Art and Inclusionary Education Planning and Management 3 credits, 3 hours AE 200 3 credits, 3 hours This course is designed to provide the full Presentation Skills The design, planning, and management of scope of methodologies, techniques, and inno- 1 credit, 2 hours (undergraduate) educational media in the K-12 classroom and vative strategies needed to teach special A component of the Introduction to Visual school. Topics of study include developing a education students effectively. Using the arts Arts Education, this course addresses effective technology plan; software and hardware as a means for adapting to diverse learning speech and presentation skills for the teacher, acquisition and assessment; care, mainte- methods, the K-12 classroom will be regarded artist, and administrator communicating with nance, and security of classroom and lab as a dynamic setting for inclusionary learning. groups, classes, or clients. computer technologies; networking concepts, The impact of special-needs art education will Open to non-majors. design and protocols; Internet basics and be further realized through direct school and issues; and, managing technological and community engagement: programs and AE 201 human resources. Guest speakers support national as well as local organizations will be Introduction to the study of theses topics. Independent visita- made available to assist in developing field Visual Arts Education tions to either K-12 educational settings, placements. Arranged field placement oppor- 2 credits, 3 hours (undergraduate) technology fairs, conferences, or businesses tunities will include a broad range of A theoretical and practical introduction to the will expand student knowledge and under- community resources. entire field of art education. A survey of var- standing of the planning and management Open to non-majors. of technology. ious aspects of teaching in a variety of AE 547 situations and environments, through field Prerequisite: Permission of the instructor. Program Design and Methods: observations and classroom lecture-discus- AE 530 Elementary sions, including public and private schools Interactive Media for Art and K-12, as well as specialized and alternative 3 credits, 3 hours lecture-discussion, Museum Educators settings in museum education, early childhood 3 hours field work (8 weeks) education, special education (for students with 3 credits, 3 hours Through review of current literature, lectures, disabilities and gifted children), and adult edu- This course acquaints students with existing discussion, field observation, and mini- cation. technology and media available for instruction teaching, students explore various educational Open to non-majors. to art and museum educators. Students learn to philosophies and develop and implement design and create interactive multimedia proj- effective classroom curricula based on pre- AE 507 ects using a variety of multimedia authoring vailing theories of learning and child Educational Media A: tools. development. Teaching and Learning Open to non-majors. Prerequisite:AE 201. May be taken by classroom teachers or artists who wish to have a broader knowl- 3 credits, 3 hours AE 531 Provides students with the knowledge, skills, edge of methodology and content for teaching Multicultural Learning-Arts and strategies to successfully integrate educa- elementary art. 3 credits, 3 hours tional media in the teaching and learning of AE 548 K-12 art. Areas of study include the theoret- The artistic expressions of Africa, Asia, and Program Design and Methods: ical and conceptual basis for educational the Americas, the Near and Middle East, and Secondary technology in the curriculum, training and related societies are examined for their aes- development of technology skills, such as thetic and contextual meanings. Cross-cultural 3 credits, 3 hours lecture-discussion, computer graphics, Web page design, elec- contributions to world art history are recog- 3 hours field work (8 weeks) tronic presentations, and issues and problems nized through the study of characteristic styles Continuation of AE 547 with emphasis on related to technology use in education. Field and techniques, dynastic periods of art and middle and secondary school. trips to local K-12 technology arts programs artists, as well as the relationship of art to Prerequisites:AE 201 and either AE 547 or AE 559. varied systems of belief. further student understanding of technology AE 549 use and integration in educational settings. Open to non-majors. Program Design and Methods: Prerequisite: Permission of the instructor. AE 532 Aesthetics/Art Criticism Design for Interdisciplinary Learning This course is designed to develop skills, tech- 3 credits, 3 hours niques, and strategies for integrating An introduction and curricular model for inte- developmentally appropriate aesthetics and art grated learning in which design and the visual criticism activities in the K-12 classroom. arts, music, theater, and dance are the central Using prevailing theories of learning, means of integrating all disciplines to provide teaching, and child development, students will a more holistic approach to learning. An design puzzle cases, activities, and curricula approach to arts-centered learning through a that promote the philosophical investigation design-based problem-solving model is and interpretation of art and aesthetic objects. emphasized to address issues in all subjects Humanities and at all levels of education. Open to non-majors with an interest in integrated arts.

132 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 AE 550 AE 602 AE 649 Creative and Cognitive Development History of Ideas in Art Graduate Project/Thesis 3 credits, 3 hours and Museum Education 6 credits (or 3 credits per semester for two This course is designed to develop skills in 3 credits, 3 hours semesters) recognizing the developmental stages of chil- Seminar on major issues and trends in the his- A culminating independent project supervised dren, adolescents, and adults according to the tory of art and museum education, with an by a faculty advisor. The project or thesis may theories of Jean Piaget, Lawrence Kohlberg, emphasis on child-centered and content-cen- take either of two distinct forms: a) an aca- Viktor Lowenfeld, and Erik Erikson. In addi- tered theories and the theoretical antecedents demic thesis presenting original research on a tion, the course will explore the learning of the Discipline Based Art Education move- significant historical, theoretical, or pedagog- theories of Jerome Bruner, B.F. Skinner, ment and standards-based education. ical question relating to visual arts education, Howard Gardner, Madeline Hunter, and or b) a studio or curriculum project intended Bernice McCarthy toward understanding indi- AE 606 for use as a pedagogical tool. vidual differences in creative and cognitive Research in Education: Prerequisites:AE 602,AE 606, and AE 610. development and learning styles. Methods and Trends Other conditions: Students must also complete a Open to non-majors. 3 credits, 3 hours University seminar,and be approved by the Chair of A graduate education seminar on the principal Art Education to enroll for the Thesis Project. AE 552 approaches to research for art and museum The Art of Teaching education. The course examines types of AE 659 3 credits, 3 hours research, applications, and recent studies for Student Teaching Practicum Teacher preparation and knowledge of instruc- their methodologies and findings, grant 4.5 to 9 credits, tional techniques and curricula development writing, and assessment techniques. Five full days a week for 12, 2-hour lecture will be addressed, including development of Graduate students only. discussions. presentation and speaking skills, professional An intensive experience built around a 14- image, teachers’ rights and responsibilities, AE 610 week student teaching practicum, in which the and aspects of group processes. The course Graduate Studio Seminar student devotes seven weeks to teaching at the will explore cultural and family factors that 3 credits, 3 hours elementary school level and seven weeks at influence learning, expectations conveyed by A one-semester interdisciplinary seminar the middle or secondary-school level under teachers and peer behavior, and techniques of exclusively for arts educators. Topics of broad the guidance and supervision of master instruction and creativity. A retrospective concern to artists will be addressed in teachers and Art Education Department fac- analysis of each student’s individual education response to students’ work, assigned readings, ulty. Educational issues and concerns are experience and his/her perceptions of teaching and occasional public lectures or other art addressed in the seminar portion of the course. will be explored through interactive simula- events in the University and the community. Students may elect to take the two field tion of classroom situations and teaching Corequisite: Student should be currently enrolled in placements over two semesters. If this option styles. studio work while taking this course. is taken, the full 15-week seminar that accom- Prerequisite:AE 547. panies the Practicum must be taken in both Open to non-majors. AE 632 semesters. Applications of Prerequisites:AE 201,AE 533,AE 547,AE 548, AE 559 Interdisciplinary Learning and AE 559. Saturday Practicum 3 credits, 3 hours 3 credits, 3 hours lecture-discussion, This course practically applies the knowledge 3 hours field work (10 weeks) gained in Design for Interdisciplinary Students are involved in various aspects of the Learning by offering a variety of curriculum Saturday Lab School. They observe classroom frameworks through which elementary and instruction, plan and teach lessons, and exhibit secondary school teachers can implement this student work under the supervision of cooper- curriculum. Students use a variety of models ating master teachers and through the and thematic approaches to develop integrated instruction of a professor in the seminar por- arts curricula that relate the arts to other disci- tion of the course. plines. In keeping with interdisciplinary in a Prerequisites:AE 201 and AE 547. postmodern aesthetic, students use a variety of interactive media. AE 599 Class sessions include lectures, media pre- Professional Writing Intensive sentations, discussions, interactive group 2 credits, 2 hours activities, guest presenters, and workshops in This course is required for students entering the university and the community. all art education programs (pre-certification, This graduate-level course is available for MAT, MA, MA+EM) if they do not pass the advanced undergraduates with an interest in Art Education Department writing proficiency integrated arts. exam. It addresses the use of effective and Prerequisite:AE 532. cogent written communication for the teacher, artist, and administrator to classes, groups, or clients. Art Education students only.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 133 AT 305 Art Therapy Theories and Techniques of Art Communication Therapy with Adults AT 300 3 credits, 3 hours CM 101 Introduction to Art Therapy The practice of art therapy with adults as Communication, Culture, 3 credits, 3 hours demonstrated through the use of case material and Process Introduces students to key concepts and from a variety of clinical populations. 6 credits, 7.5 hours dimensions of the profession of art therapy. Overviews of diagnostic indicators, as seen in Grounds students in an exploration of commu- Course content addresses the different orienta- artwork, are presented. Issues of long- and nication as a social and cultural process by tions and approaches that comprise this short-term treatment are addressed, as well as integrating theory and analysis with practical discipline, as well as the diverse populations a rich variety of interventions at the art thera- production projects. The course draws on that are served. Art therapists that work within pist’s disposal. theory and research in communication, lin- a wide range of settings are invited to present Prerequisite:AT 300,AT 304, or permission of guistics, anthropology, and sociology, applied to the class to balance the theoretical with the instructor. across cultural settings. Student work includes practical. AT 401 reading, writing of reaction papers, and proj- Prerequisite: HU 181 A, HU 181 B, or permission ects combining observations and analysis of Senior Practicum of instructor. communication processes with digital video Open to all students. 3 credits, 3 hours production. The studio component of the A field placement provides an opportunity for course begins with basic instruction in the use AT 301 the student to apply classroom knowledge to of digital video camera and audio equipment Social and Group Process work within a specific clinical setting. A and covers logging, organizing, importing, 3 credits, 3 hours research paper, based on the experience, editing, and presenting digital material. Introduces students to a basic understanding enables students to integrate theory with Projects employ video to document observa- of social groups, group behaviors, group observation and practice. This practicum tions of nonverbal communication, visual therapy, and group art therapy. The class helps includes on-site individual supervision by an communication, interviews and speech events, students to better identify their own role as art therapist, as well as a small group supervi- and performances. Studio time will be linked well as that of others within a group setting. sion on campus with the Art Therapy faculty. to course projects. Experiential art tasks are used to underscore Prerequisites: HU 181 A, HU 181 B, HU 384, course material and exemplify group HU 483,AT 300,AT 301,AT 304 and AT 305. CM 120 dynamics. Open to Art Therapy Concentration students only. Sound Communication Prerequisite: HU 181 B, AT 300, or permission of 3 credits, 4.5 hours instructor. This introduction to the field of sound com- munication enables students to conceptualize AT 304 the importance of sound in cultural life and Theories and Techniques of Art prepares them in practical approaches to field Therapy with Children and recording and working with various types of Adolescents sound. The course surveys approaches to 3 credits, 3 hours sound as a critical dimension of social com- Introduces students to the use of art therapy munication through readings and a broad with children and adolescents, including the range of audio examples, including documen- different arenas where art therapists work with tary, journalistic, theatrical, and experimental children, as well as the various approaches approaches. Students receive training in dig- that are utilized. Normal child development, ital audio field and post-production as evidenced in artwork, will serve as the equipment, and complete practical field exer- foundation for understanding key concepts. cises and an intensive sound project. Indicators of emotional, cognitive, and behav- ioral difficulties, as seen in art productions, are also presented. Prerequisite: HU 181 A, HU 181 B, HU 384, AT 300, or permission of instructor.

134 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 CM 201, CM 202 CM 251 CM 271 Media Forms and Contexts I, II Communication Theories Advertising: Creative Concepts I 4.5 credits, 7 hours and Culture 3 credits, 6 hours A two-semester exploration of a range of 3 credits, 3 hours Whether an advertisement appears in print, on media forms through the perspectives of An intellectual history of influential 20th cen- television or radio, or on the Internet, it is built genre, structure, and representation, com- tury theories of communication, with a focus around an idea. Students learn to recognize bining analysis and media production. on the relationships between media and cul- and create strong advertising ideas that are rel- Students are exposed to mainstream and alter- ture. This course will intertwine critical evant to the product and the audience. native media in weekly screenings, focusing intellectual developments in the field with Emphasis is placed on print advertising. After on formal issues (i.e., time, space, point of public events and social movements, seen in students grasp what constitutes a strong idea view) and social issues (i.e., cross-cultural the context of the changing daily lives of by studying and creating print advertisements, representation, stereotyping, the portrayal of people in diverse places. We emphasize how they translate that understanding into other gender and sexuality, the representation of communication systems shaped the course of media. Students learn how to allow their cre- violence) in order to observe how media forms public and private lives during this century, ativity to be guided by strategy. Students are create cultural meanings. Students develop an and how changes in communication reshaped exposed to outstanding creative work and analytical and practical language for talking the way we theorize about the world and the readings, from which they learn essential prin- about media genres and an understanding of field. Students read primary material in its ciples for developing strong ideas. They apply how production practices and audience expec- original form, view media material illustrating these principles as they create advertising of tations combine to affect the structure of critical concepts, write short position papers their own. media forms. In the studio component of the reflecting on communication theory and cul- course, exercises approach the topics in media ture, and complete a term paper on one of the CM 290 representation through creative work in docu- course modules. Video Production Workshop mentary, electronic journalism, and Discipline History/Social Science 3 credits, 6 hours advertising, using digital video, audio, still Acquaints students with the fundamentals of images, and the Web. CM 260 visual storytelling by providing hands-on Prerequisite: CM 101. Media Industries experience translating the written word into 3 credits, 3 hours images and sounds. Areas of study will CM 211 Investigates the range of organizations and include framing images, lighting, using off- Writing for Media economic forces involved in media produc- screen space and sound, editing, and post 3 credits, 4 hours tion. It covers diverse production models, production sound. Students will integrate their An intense writing course developing skills in from mainstream and corporate to public own writing into producing some of these effective, clear, and persuasive writing in the sector to alternative, and draws comparisons projects. areas of media and communication. Students with media industries in other cultural set- work from a variety of source materials, tings. The course focuses on issues such as: CM 293 including secondary research and primary market structure, government regulation, History of Documentary interviews, to craft pieces in several formats. media conglomeration and linkages, produc- 3 credits, 4.5 hours Projects include a research paper from sec- tion organization, audience measurement and Introduces the historical and aesthetic sweep ondary research sources, a project proposal, a behavior, and globalization. Students will of approaches to documentary film and video. treatment for a media work, a newspaper view examples from broadcast and cable Through extensive screenings and readings, article, and a life narrative from interview news, advertising, Hollywood and inde- this survey begins to expose students to the material. Emphasis is on writing structure and pendent cinema, public broadcasting, public range of choices and creative possibilities of style, editing and revising, suitability to spe- access and community-based media, and new communicating information and emotion cific audiences, and delivering material on media industries. The course includes a through this form. These works are seen time and at prescribed lengths. Class meets research component in which students conduct through aesthetic choices, technological limi- two times per week, with original writing or a small original research project, using inter- tations, and social settings. In addition to revisions due each class. views, fieldwork observations, and/or library attending screenings and discussion, students Prerequisite: HU 110 B. research. write two short papers and one longer term Discipline History/Social Science paper. CM 250 Humanities History of Communication 3 credits, 3 hours CM 295 Examines how major developments and tech- Narrative Video Production nological changes in communication have Workshop influenced social and cultural history and how 3 credits, 6 hours major historical and social changes have had Hands-on course in directing and producing of an impact on communication. Draws connec- narrative film with major emphasis on story- tions between historically specific and boarding, blocking and rehearsal of actors, contemporary modes of communication in a dramatic beats, camera placement, point of variety of times and cultures, and the present. view, coverage, long takes, and analytic mon- Discipline History/Social Science tage, as well as the fundaments of continuity editing. Includes three directing exercises and a 10-minute final project. Prerequisite: CM 290 or permission of instructor.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 135 CM 340 CM 372 CM 381 E-Publishing Thesis Project Advertising: Creative Concepts II Digital Journalism I 3 credits, 3 hours 3 credits, 6 hours 3 credits, 6 hours A culminating course for students in the Having learned during the fall of their junior The primary skills and practices involved in e-music minor in which they develop an appli- year how to create strong individual concepts, constructing news for the online environment. cation. Students develop a proposal for an students go on to create broader and deeper Begins with an exploration of the evolution of application and carry the idea through concepts that can form the basis for a number journalism from print to online and digital research implementation, execution, and pres- of ads and learn how to execute an idea in forms. By looking critically at a range of jour- entation. With the consent of the instructor, more than one medium. The course begins by nalistic examples, and reading about the projects may be the work of one student or examining award-winning print campaigns in changing work of reporting, students grapple that of a group of students, be in a variety of order to recognize suitable ideas for multi-ad with the differences between traditional and shapes, and in a variety of media. campaigns; to identify elements and themes new media forms of journalism and begin to Prerequisite: Permission of instructor. and their grounding in research; and to under- learn the practice of reporting for the World stand the consumer. The course then examines Wide Web. They work through a set of exer- CM 350 how interactive media are being used to build cises researching story ideas, pitching them to Gender Images in Media customer relationships and brand identities, the class, conducting interviews, gathering 3 credits, 3 hours and explores the strategic functions of these images, and writing, designing and posting Explores the representation of gender and sex- new media. Students apply what they have short pieces for the Web, introducing them to uality in the media over the past century and learned by developing storyboards for a the possibilities and constraints of working in how images of male and female both follow product or service that reinforces that this medium. and create social change. product’s existing brand personality. Prerequisite: CM 202 or permission of instructor. Prerequisite: HU 103 B. Prerequisite: Sophomore standing. Liberal Art elective CM 382 CM 373 Digital Journalism II CM 360 Introduction to Public Relations 3 credits, 6 hours Communication Production 3 credits, 4.5 hours A more intensive course in digital journalism, Workshop Introduces students to the fundamentals of building on CM 381: Digital Journalism I, in 3 credits, 6 hours public relations, viewed as a marketing com- which students explore the present state and This project-oriented production course is munications tool, and pays special attention to future possibilities for journalism in the on- designed to offer students an opportunity to its role in the non-profit sphere. Reviews the line environment. Here students work in teams work on a publication project in a specific functions of a wide range of marketing com- and on their own to complete a more complex communication medium or genre otherwise munications tools and explores how PR can be set of online journalism projects, researching unavailable. Many of these projects will be used in conjunction with them to achieve an story ideas, pitching them to the class, con- built with the intention of being published or organization’s objectives, helping students to ducting interviews, and writing and designing made available to an audience beyond the come to understand the role of public relations story sites for the Web. classroom; some of them will also be con- in the overall marketing communications plan. Prerequisite: CM 381. nected to extracurricular clubs or activites. Students learn how to coordinate messages in Students will work collaboratively on projects order to allow the company to speak with one CM 383 in this meduim, and present their work to an voice and reinforce one overall corporate News and Culture in the Digital Age audience of peers and/or professionals. identity, with special attention to social mar- 3 credits, 3 hours Projects will include: developing a Web radio keting and the public. Students apply what Surveys both the impact of social issues and site, producing a television commerical, pro- they have learned by working on a series of concerns on journalism and the social impact ducing advanced audio projects, developing projects that culminate in the development of of journalism on society. Working between an online publication, etc. a public relations proposal for a non-profit readings about journalism and society, and Prerequisite: CM 101 or permission of instructor. organization using the principles and practices case studies, both past and current, of how defined and discussed in this course. journalism operates within our region and CM 371 Prerequisite: HU 110 B or permission of instructor. nation, students learn about how issues such Advertising Strategy Development as race, gender, ethics, technology, and the 3 credits, 4.5 hours changing nature of the news business affect Grounds students in the business side of cre- the work of journalists. ative advertising. Examines the functions of Required of students in the Digital Journalism the various departments within an advertising Concentration. agency, focusing on strategic development, and introducing students to the three key steps in that development– market segmentation, brand positioning, and research. Students learn a variety of qualitative and quantitative research methods and analytical methods, and apply what they have learned by developing and presenting an advertising strategy for an actual product.

136 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 CM 391 CM 435 Documentary Media Production I Current Issues in Communication Crafts 3 credits, 6 hours 3 credits, 3 hours Develops an understanding of the conceptual, Explores the changing landscape of ethical CR 111 aesthetic, and pragmatic dimensions of and policy issues in communication from a Freshman Ceramics making documentary video and audio. Early critical and intellectual perspective, with a 1.5 credits, 3 hours in the semester, students are exposed to exam- focus on emerging issues driven by the shift to Through lecture and demonstrations, basic ples of a variety of documentary approaches digital media (image ethics and manipulation, skills such as handbuilding, throwing, and through partial screenings and readings, to intellectual property, changing nature of distri- press molding are addressed, with an introduc- illustrate the range of choices and creative bution, etc.). Building on previous coursework tion to loading and firing kilns and mixing possibilities of communicating information and studio experiences, students read material clay and glazes. Problems are given with an and emotion through this form. They are also from current literature and write reflective and emphasis on developing each student’s poten- introduced to more sophisticated digital video research-based papers on selected issues. tial for personal expression and artistic technologies than they have employed in the Presentations by guest speakers in the various invention. Freshman students are encouraged curriculum previously. Students simultane- industries and independent sectors provide a to participate in the departmental guest lecture ously work through a series of structured real-world perspective on how these issues series and field trips. exercises, and later work in teams to develop affect professional practice. small-scale documentary projects. Project Prerequisite: CM 260. CR 121 work includes pre-production research, inter- CM 461, CM 462 Freshman Fibers and Mixed Media views, original shooting in small crews, and 1.5 credits, 3 hours Senior Studio I, II editing and presenting finished work. Provides foundation students with a hands-on Prerequisite: CM 202, CM 290 or permission of 4.5 credits, 7 hours studio experience grounded in fabric instructor. In this intensive project-based two-semester processes and materials as a means of per- studio, students work in multifunctional teams CM 392 sonal expression. The student receives an on a common theme, collaborating on the introduction to stamp printing and direct Documentary Media Production II development of their own presentation-quality painting on fabric, collage, three-dimensional 3 credits, 6 hours work in their medium of choice and concen- off-loom structures, as well as tapestry Develops a deeper understanding of the prag- tration (documentary, social marketing, or weaving on frame loom. Guidance is offered matic, conceptual, and aesthetic dimensions of online journalism). They research and develop in the form of demonstrations, slide presenta- producing documentary video and audio. their project proposals in the fall semester, tions, field trips, informal discussions, and Exposure to contemporary issues and collaborating with individuals and institutions intensive group critiques. approaches in documentary media making in the region, and begin production work, through screenings and readings. Students resulting in a short piece in video, audio, CR 131 achieve increased mastery of more sophisti- and/or online form. They continue this project Freshman Glass cated digital video technologies than they work in the spring semester. This studio work 1.5 credits, 3 hours have employed in the curriculum previously, is supplemented by additional readings about Explores glass as an expressive and creative and work through a series of project stages in relevant historical, critical, and practical issues medium. Students work with flat glass in the development of a medium-length docu- and screenings of contemporary work. stained-glass techniques. mentary. Each student is responsible for Students write reflective pieces about their taking his or her own project through to com- production experiences in light of these histor- CR 141 pletion and presenting this project to his or her ical and contemporary issues, and complete Freshman Jewelry and colleagues; they collaborate on these projects the year-long course with a portfolio of their Metalsmithing in teams. own creative work. 1.5 credits, 3 hours Prerequisite: CM 391. Prerequisite: CM 372, CM 382, or CM 392. An introduction to metalwork through several CM 395 CM 499 beginning jewelry projects. Students learn basic fabrication techniques through simple Advanced Narrative Production Internship hollow construction; movement is approached Workshop I 1.5 credits through aspects of linkage and chainmaking; 3 credits, 6 hours Professional internship with a media organiza- forming and fabrication are covered as well. The first part of a two-semester production tion or producer. Student needs to gain studio in which students plan, shoot, and edit a approval for internship from advisor, meet CR 161 digital film project, roughly 20 minutes in periodically for supervisory discussions, and Freshman Furniture and Wood length. During this course, students advance complete a short, reflective essay at the end of 1.5 credits, 3 hours from locked screenplay through principal pho- the internship. The introduction of wood as a material, basic tography, including preparation of a shooting Open to Communication majors only. joinery theory, and the ability to manipulate script and storyboards; pre-production issues the material safely with both hand and power such as location scouting, production design, tools. Lecture and demonstration of the prop- casting, and rehearsals; and the shoot itself. erties of wood, the proper use of the bandsaw By semester’s end, students assemble their and shaping tools, including rasps, chisels, best takes for screenings and critiques. small hand planes, and gouges. Prerequisite: CM 295.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 137 CR 200 A/B CR 222 CR 232 Projects I Constructed Surface Stained Glass 3 credits/semester: fall and spring, 6 hours 3 credits, 6 hours 3 credits, 6 hours Art making dealing with crafts issues and con- Through a series of developmental assign- Students work with transparent and cepts. Individual project consultations are ments, students are provided with a solid opaque glass sheets to produce both two- and supplemented by lectures, visiting artists, and technical and conceptual base in the fabric three-dimensional artwork. Techniques group critiques. As this course is content- media. Non-loom constructions, color, and include glass cutting and grinding, use of based, students use any/all crafts studios multifiber dye techniques are covered. caming and copper foil, soldering, enameling, during in-class work time and open studio sandblasting and carving, and kilnfiring. hours. (Students have access to crafts studios CR 223 A/B Typical projects include stained glass win- where they have completed or are currently Papermaking dows or panels, containers, and shallow taking a media-specific course.) Non-crafts 1.5 credits, 3 hours bowls. majors taking this course may also work in Through slide lecture/demonstrations and their accustomed media. films, this studio course introduces students to CR 241 A/B Corequisite: Enrollment in a studio course. all aspects of traditional Western and Japanese Introduction to Jewelry papermaking techniques including pulp prepa- 3 credits, 6 hours CR 211 A/B ration, sheet formation, pressing, and drying The student is asked to explore notions of jew- Introduction to Throwing sheets. Students learn refined, professional elry and body adornment as means of personal 3 credits, 6 hours methods as well as explore the creative versa- expression. Projects range from precious jew- Beginning studio work with clay using the tility of pulp. Classes include: casting elry making to adornment that extends into throwing process and related glazing and three-dimensional objects and bowls, building performance. Basic goldsmith skills are taught firing techniques. Problems are given with an subtle relief images in colored pulp, and as essential, while three-dimensional emphasis on developing each student’s poten- painting with pulp. Various fibers explored sketching and experimentation in mixed tial for personal expression and artistic throughout the semester include unique ones media are encouraged. Successful integration invention. made from garden vegetables and indigenous of design, material, and process is the goal. plants. Projects are designed to provide students with CR 212 A/B broad exposure to the many possibilities Introduction to Handbuilding CR 227 inherent in jewelry and ornament as related to 3 credits, 6 hours Experimental Costume Design the human form. Beginning studio work with clay using the 1.5 credits, 3 hours handbuilding processes of slab, coil pinch, and An introductory mixed media fibers CR 242 pressing form molds, plus related glazing and studio where students transform the body into Introduction to Metalsmithing firing techniques. Problems are given with an a fantastical art form through hat, mask, and 3 credits, 6 hours emphasis on developing each student’s poten- unconventional garment construction. Metal is an extremely versatile material; tial for personal expression and artistic Students are introduced to a wide range of soft though hard and durable, it is quite malleable invention. materials including fabrics, plastics, net, and easily worked. This course covers direct gauze, rugger yarns, paper, etc., and to simple working of metal. Sheet, wire, bar, and rod are CR 221 A printing/dyeing fabric embellishment given form by hammering, seaming, bending, Introduction to Fibers Mixed Media processes. etc. The majority of work is done in bronze, 3 credits, 6 hours brass, and copper, though steel, stainless steel, An introduction to both traditional and experi- CR 231 A/B aluminum, and precious metals may be used mental uses of materials and structural Introduction to Glass Blowing as well. Emphasis is on basic hand and processes in the fabric media. Assignments 3 credits, 6 hours machine processes conveyed through organ- focus on the exploration of two- and three- Through demonstrations, assignments, and ized, comprehensive, and technical dimensional forms in preparation for versatile tutoring by the instructor, the students are information. The focus is on the possibilities approaches to the fibers media. A range of off- guided toward mastery in offhand blowing. of metal for the contemporary artist. loom mixed media techniques is covered. Blowing of well-balanced functional and non- Contemporary issues include the object as functional forms is emphasized. The aesthetics sculpture, process as a source material, the CR 221 B of contemporary and historical glass are intro- importance of surface and detail, and func- Introduction to Color and the Loom duced. Demonstrations and tutoring guide the tional objects made by artists. 3 credits, 6 hours students in exploring the use of color in glass, An introduction to both traditional and two- and three-dimensional surface treatment, CR 243 experimental uses of materials and structural the relationship between volume and skin of Jewelry Rendering and Design processes in the fabric media. Students forms, blowing into molds, and working in a 3 credits, 6 hours explore the potential of two- and three- variety of scales. The aesthetics of contempo- Students explore two-dimensional pencil and dimensional forms in preparation for versatile rary and historical glass are investigated as gouache techniques effective in creating the approaches to the fibers media. Loom-woven they relate to the students’ work. illusion of finished pieces of jewelry. structures, tapestry, and woven color are Emphasis is placed on the skill development covered. necessary to communicate and evaluate ideas prior to making. Presentation and develop- ment of a portfolio are an integral part of the course.

138 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 CR 245 CR 253 CR 277 Art for the Body Ceramic Technology Fabric Resist and Embellishment 3 credits, 6 hours 1.5 credits, 3 hours 3 credits, 6 hours Introductory mixed-media course focuses on A lecture and laboratory course designed to Extends students’ basic color and drawing the body as the site-specific locus for a variety initiate investigation of basic clay and glaze vocabulary into the realm of ancient tech- of art forms. Looking at a range of cultural materials. The primary intent is for the student niques and tools of Indonesia, Japan, and and historical examples, students gain an to gain an intuitive understanding of ceramic Africa. Fabric dyeing and resist methods cov- appreciation for the many personal and social materials, their practical and aesthetic proper- ered include drawing and stamping with influences that underlie our conception of the ties, and to develop a series of personal waxes, stitching and binding with threads, and human body and how we construct for it. glazes ranging from bright gloss to matt. more. Students acquire a broader sense of Students work in an array of media, with spe- Additionally, the nature of clays and the rela- “mark-making,” an understanding of the spe- cific emphasis on the use of metal, paper, tionship among clay bodies, slips, sigallatas, cial color properties of dyes, and an ability to fabric, and leather. Technical information and glazes is explored. use non-Western traditional craft methods to includes flat pattern making, piecing, and create contemporary art fabric. sewing; forming and fabrication; mixed media CR 255 construction; systems of attachment, linkage, Large Scale Handbuilding CR 278 and closure. Emphasis on the students’ ability 1.5 credits, 3 hours Fabric Printing to generate unique solutions to the physical Fundamentals of large scale handbuilding in 1.5 credits, 3 hours challenges imposed by the human body on the clay. It will address two specific areas: a) Focuses on the fundamental principles of content of attire. building a three-dimensional form, students translating drawings and photographs into learn to use proper clay bodies, how to build designs and images for screen-printed fabric, CR 249 interior support systems, building and drying using a fine art approach. Exploration of Enameling methods for large work, and moving, loading, myriad possibilities in creating fabric using 3 credits, 6 hours and firing techniques; b) Students learn how to silkscreen and fabric pigments. Enameling is the art of firing colored glass cover large areas with smaller parts and onto metal. The transparent, opaque, and explore fitting and interlocking systems of CR 279 opalescent enamel colors are layered to pro- wall relief or free-standing form. Problems are Paper Casting duce richness, detail, depth, and brilliance in given with an emphasis on developing poten- 1.5 credits, 3 hours this durable and painterly medium. Traditional tial for personal expression and artistic Students use paper pulp to build up three- techniques such as cloisonné, grisaille, invention. dimensional forms. Molds are made of plaster Limoges, basse taille, pliqué-à-jour, and and other materials. The emphasis is on paper champlevé, as well as contemporary and CR 256 as a material for the craftsperson and sculptor. experimental processes are explored. Ceramics Once they have gained facility with the 1.5 credits, 3 hours CR 280 medium, students produce jewelry or small Through lecture and demonstration, students Introduction to Metal Casting jewel-like paintings. learn basic skills such as handbuilding, 3 credits, 6 hours throwing, and press molding with an introduc- Wax working for jewelry and sculpture, CR 251 tion to loading and firing kilns. Mixing clay, rubber molding processes, and lost wax/cen- Introduction to Molding and Casting slips, and glazes are also covered. trifugal casting of bronze and (optional) 3 credits, 6 hours sterling silver and karat golds. Extensive tech- A course in modelmaking, moldmaking and CR 261 nical information for students who are casting techniques, using plaster and synthetic Introduction to Wood design-oriented. Assignments allow projects compounds. Emphasis is given to developing 3 credits, 6 hours in all formats (design, one-of-a-kind jewelry, proficiency in slip casting for use in the Introduction to basic woodworking skills and fine art, etc.) and students are encouraged to artist’s studio and in industry for serial processes, including sharpening and setting up use the techniques demonstrated innovatively production. hand tools and machinery, theory of solid and expressively. Students taking the course a wood joinery, and construction. In addition to second time choose one aspect of the course CR 252 building technical skills, there is emphasis on (wax carving, wax modeling, wax impres- Plaster Workshop contemporary and historical furniture design sions, vulcanized rubber molding, etc.) and 1.5 credits, 3 hours issues. produce a small body of work investigating An introductory course in modelmaking, that aspect in depth. Procedures for jobbing moldmaking, and casting techniques using out work to professional contract casters; plaster and synthetic compounds. This course more experienced students send some of their emphasizes the usefulness of these media to work out to be molded or cast. designers and artists.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 139 CR 281 CR 287 CR 329 Introduction to Electroforming Low-Tech Furniture Advanced Textile Design 3 credits, 6 hours 3 credits, 6 hours 1.5 credits, 3 hours Electroforming is electroplating metal onto a Using materials gathered from nature, stu- Use of the computer in the study of woven nonmetallic surface or object. Metal may be dents make chairs, tables, and other functional textile design. The course introduces fabric built up on nonporous materials such as wax, objects with a minimum of technical and structures from simple, plain, and rib weaves, plastic, glass, stone, and lacquered found and mechanical procedures. Inspired by the through twills, satins, waffle weaves, double natural objects. Wax may be removed from design inherent in natural materials, branches cloth, composite structures, and color effects. electroformed objects to leave a strong, light- and twigs, found objects, and imaginative Students learn the language of cloth through weight, hollow, self-supporting metal shell. thinking, the class conceives and executes a the incremental development of structures, Students will work in electroformed copper; series of projects, mostly with simple hand first notating those structures by hand on point assignments are structured to allow students to tools. The woodworking techniques demon- paper, and then using various computer soft- work in accustomed formats and/or combine strated are simple and straightforward; even ware programs to develop a wide range of electroforming with other materials and the most 10-thumbed, tool-inept, and fabric structures. At least one structure is real- processes. machine-wary students are welcome in ized through weaving on a 32-harness this class. hand-weaving computer loom. CR 282 Metal Furniture CR 300 A/B CR 331 3 credits, 6 hours Projects II Advanced Glass Blowing Questions our cultural assumptions about fur- 3 credits, 6 hours 3 credits, 6 hours niture. Are common furniture forms dictated Art making which deals with crafts issues and Glass is considered as an expressive medium, by functional requirements or arbitrary concepts. A continuation of Projects I, work and development toward a personal style is choices, which have become traditional? becomes increasingly student-determined as encouraged. Students work with hot glass in Metal (steel, aluminum, bronze) is used for its the dialogue becomes more subjective. As this advanced offhand work, blowing into molds, strength and versatility; other materials are course is content-based, students use any/all casting, and enameling, as well as advanced combined with metal according to student crafts studios during class time and open stained glass work incorporating blown and ideas and interests. Techniques include studio hours. (Students have access to crafts cast pieces on two- and three-dimensional bending/forming of rod, tube, and plate, oxy- studios where they have completed or are cur- stained glass problems. acetylene welding, brazing, mechanical rently taking a media-specific course.) Prerequisite: CR 231 B. fasteners/tap and die, riveting, Non-crafts majors taking this course may also and light blacksmithing. Typical student work in their accustomed media. CR 332 A/B projects include small tables, lamps, Prerequisite: CR 200 B. Advanced Fusing and Stained Glass chairs, outdoor/public furnishings, and Corequisite: Enrollment in a studio course. 3 credits, 6 hours experimental forms. Glass is the vehicle for creative expression CR 322 A/B and aesthetic growth. During the first semester CR 283 Advanced Fibers Mixed Media the students focus on developing a personal Small Scale Steelworking 3 credits, 6 hours theme in their work under close guidance of 3 credits, 6 hours Through a series of developmental assign- the instructor. During the second semester the Steel is a metal with unique properties. This ments with a conceptual emphasis, and by students create a consistent body of work and course covers light blacksmithing, thin-sheet using acquired knowledge from previous present it in a small show, and trace the histor- welding, and other techniques suitable for semesters, students are encouraged to explore ical and contemporary sources of inspiration working steel at tabletop size. Aluminum and forms that reveal the inherent physical quali- of their work in a written or oral paper. other metals may also be used where appro- ties and potential image-making possibilities Prerequisites: CR 231 B and/or CR 232. priate. The focus is on the possibilities of of fabric. Loom-woven and mixed-media metal for the contemporary craftsperson. fabric techniques are used as appropriate, CR 370 A/B Contemporary issues include the functional depending on the student’s interest in the Advanced Throwing object, the decorative impulse, process as a development of a diverse range of two-dimen- 3 credits, 6 hours source of inspiration, and the importance of sional constructions, sculptural forms, Concentration on resolving conceptual and surface detail. costume, etc. formal issues as they relate to individual Prerequisites: CR 221 B and/or CR 222. exploration on the wheel. Problems encourage CR 286 uniqueness and challenge abilities. Typical Wood Carving issues include usage and symbolic function, 1.5 credits, 3 hours serial production, the table, site-oriented An introductory course focused on the devel- applications, and medium to large-scale use of opment of skills and a survey of historical and materials. All problems stress practical as well contemporary precedents. The class will cover as aesthetic resourcefulness with clay on the tools: selection, use, and sharpening; lamina- wheel. Senior craft majors taking this course tion and joinery utilized for carving; finishing may choose to spend all or part of their time techniques; materials, and choice of woods; producing thesis work to supplement the letter carving, designs and content. Students thesis component of the Crafts Projects III. will provide their own carving tools. Prerequisite: CR 211 B.

140 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 CR 371 A/B CR 386 MFA in Ceramics Advanced Ceramics Advanced Wood 3 credits, 6 hours 3 credits, 6 hours Each summer session will begin with a Concentration on resolving conceptual and Covers tools, joinery, methods, and materials. detailed review of the student’s previous formal issues as they relate to individual Content progresses with increasing com- work, assessing progress, addressing exploration. Problems encourage uniqueness plexity, involving machining, hand tools, issues, and planning the summer’s work. and challenge abilities. Typical issues include finishing, and surface treatments. Senior crafts Ongoing individual meetings with the usage and symbolic function, production, and majors taking this course may choose to spend studio mentor will be augmented by site-oriented applications, and medium to all or part of their time producing thesis work group critiques at the beginning, middle large-scale use of materials. All problems to supplement the thesis component of Crafts and end of the summer session and by stress practical as well as aesthetic resource- Projects III. occasional group or individual critiques fulness. Senior Crafts majors taking this Prerequisites: CR 261. with visiting artists. Each summer’s course may choose to spend all or part of their course concludes with planning for work time producing thesis work to supplement the CR 400 A/B to be continued on an independent-study thesis component of Crafts Projects III. Projects III basis during the academic year. Prerequisite: CR 212 B. 3 credits, 6 hours Independent studio work is assessed at The student selects a topic and produces a weekend critiques held at periodic inter- CR 380 A/B thesis body of work for the Crafts Senior vals and at the end of the fall and spring Advanced Jewelry/Metals Thesis Exhibition. Part of this course is Senior semesters. 3 credits, 6 hours Seminar, a forum for the discussion of ideas Built upon a basic grounding in jewelry con- and issues through student participation, guest The following courses are open to students in cepts and techniques. Lectures, technical lectures, and professional offerings. The the summer MFA program only. demonstrations, and conceptual projects vary modern craft aesthetic is examined through from year to year so that those students critical dialogue. Emphasis on the interde- CR 610 retaking the course will not find it redundant. pendency of all the arts, with an eye to the Major Studio I The goals of the course are to increase the stu- unique contribution of crafts ideology and 6 credits, 10 hours dent’s awareness and understanding of jewelry practice. Topical discussions encourage stu- Evaluation of the student’s artistic involve- as a component of our culture, aid the student dents to find contemporary relevancy and ment, projecting and testing options for the in the development of a personal aesthetic, validity in an analysis of historical precedents. direction of the student’s graduate work. and develop the student’s thinking and Other topics include: making an artist’s pres- problem-solving abilities. More experienced entation, resume preparation, writing an CR 611 students are encouraged to focus on one spe- artist’s statement, recordkeeping and taxes, Major Studio II cialized area of the jewelry field. Senior Crafts grant writing, and career opportunities. 6 credits, 10 hours majors taking this course may choose to spend Particular attention is paid to the style and sur- Further exploration of options, with increased all or part of their time producing thesis work vival techniques of contemporaries working in awareness of theoretical issues and personal to supplement the thesis component of Crafts crafts media. vision. Greater focus in the student’s work, Projects III. Prerequisite: CR 300 B. with a view to completing the repertoire of Prerequisites: CR 241 B and/or CR 242. Corequisite: Enrollment in a studio course. skills and expression in the medium needed to CR 381 A/B IN 449 undertake a thesis project. Advanced Metals Crafts/Fine Arts Internship CR 710 3 credits, 6 hours 3 credits, 90 hours/semester Major Studio III Built upon basic grounding in metalsmithing Conditions for enrollment: Must be enrolled 6 credits, 10 hours skills. Technical demonstrations and concep- as a junior or senior in a BS or BFA program; Planning and initiation of a sustained body of tual projects vary from year to year so that must have a 2.5 cumulative GPA; and cannot mature work to be presented in a thesis exhibi- those students retaking the course will not find enroll for more than 18 credits, including tion following the thesis exhibiton semester. it redundant. The goals of the course are to those earned from the Internship during that increase the student’s awareness of metal’s semester. See complete course listing under possibilities, increase the student’s metal- Open to Crafts and Fine Arts majors only. Master of Fine Arts. working skill, aid in the development of a personal aesthetic, and develop the student’s thinking and problem-solving abilities. Senior crafts majors taking this course may choose to spend all or part of their time producing thesis work to supplement the thesis component of Crafts Projects III. Prerequisites: CR 241 B and/or CR 242.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 141 DA 113 A/B DA 121 Dance Jazz Dance I, II The Alexander Technique 1 credit, 3 hours 1 credit, 1.5 hours DA 100 A presentation of styles designed to broaden A method for moving with ease and grace that Rhythm for Dancers knowledge and technique of concert and the- can be used in any situation (ballet, jazz, 1 credit, 1.5 hours ater jazz dance. Classes employ floor stretches modern dance, and also everyday activities). Provides an understanding and experience of and center barre as warm-up procedures. By releasing unnecessary tension in move- rhythm that enables students to hear, feel, Movement patterns emphasize simultaneous ment, the student learns to avoid dance count, and notate rhythmic structures and coordination of multiple rhythm patterns in injuries or change harmful habits so that enhance sensibility and creativity. different parts of the body. Combinations chronic injuries can heal. Required of all Dance majors. advance from simple to complex throughout this four-semester sequence (Jazz Dance I-IV). DA 123 A/B DA 101 A/B Open to Dance majors only. Tap I, II 1 credit, 1.5 hours Ballet I, II DA 115 2 credits, 6 hours Basic vocabulary of tap, and development of Mime Fundamentals of ballet technique including rhythmically accurate footwork and accompa- barre and center floor work. The course serves 1 credit, 1.5 hours nying body movements. to introduce and develop basic ballet tech- An exploration of the commedia dell’arte, Open to Dance majors only. Kabuki, and twentieth-century techniques nique and vocabulary. Body placement and DA 124 alignment are stressed through an under- developed by Decroux, Barrault, and African Dance standing and application of these basics. Marceau. Emphasis is placed on animals as Continuous advancement and development is the primary key to fundamental movement, as 1 credit, 1.5 hours provided from beginning to advanced levels well as analysis of human movement, The study of the contribution of black dance throughout this four-semester sequence including elements of age, environment, body to the development of American dance (Ballet I-IV). type, and facial features. through the mastery of the technique. Open to Dance majors only. DA 116 A/B DA 126 DA 103 A/B Fundamentals of Dance I, II Dance Ethnology Modern Dance I, II 1 credit, 1.5 hours 1 credit, 1.5 hours 2 credits, 4.5 hours Basic aesthetic considerations of the dance art A survey of the broad perspectives of dance Basic technique of modern dance for the form. The first semester examines the nature as an expression of culture through investiga- development of skills, intellectual under- and forms of dance and care of the body. The tion of Western and non-Western dance forms. second semester allows dance students the standing, kinetic perception, and maximum DA 129 versatility. Includes barre work, center floor, opportunity to work with their peers in the Nutrition isolation, falls and recoveries, contractions Freshman Project. and release. Part of a two-year sequence Open to Dance majors only. 1 credit, 1 hour Nutrition and its application to food selection, (Modern Dance I-IV). DA 117 Open to Dance majors only. with special emphasis on the nutritional needs Survey of Music of the dancer. DA 107 3 credits, 3 hours DA 130 Eurythmics Surveys the history of music from ancient to Dance Therapy 1 credit, 1.5 hours modern, including jazz. Comprises breathing and centering warm-ups, Discipline History 1 credit, 1.5 hours isolation exercises, and technical improvisa- Required of all Dance majors. An examination of the use of dance move- ments as therapeutic tools in working with the tion on movement qualities, including DA 119 swinging, gliding, falling, rising, slow motion. physically and mentally handicapped. Yoga Students learn to develop choreographic ideas DA 190 through group improvisational structures. A 1 credit, 1.5 hours Language of Music continuation of the creative work of DA 107. The study of a system of exercises to achieve Open to Dance majors only. physical and spiritual well-being. 1 credit, 1.5 hours The study of rhythm, melody and harmony, DA 111 DA 120 tempo, dynamics, and musical forms. Mat Class Spanish Dance DA 201 A/B 1 credit, 1.5 hours 1 credit, 1.5 hours Ballet III, IV Basic techniques of playing castanets for the Part of the Pilates-based method of exercise. sevillanas, as well as development of funda- The mat class helps build strength while main- 2 credits, 4.5 hours mental skills in footwork and handclaps taining flexibility. This system of exercises Continuation of DA 101 A/B. for flamenco. has been used for over 70 years by dancers, Prerequisite: DA 101 B. musicians, and athletes to help them enhance Open to Dance majors only. their performance.

142 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 DA 203 A/B DA 301 A/B DA 311 A/B Modern Dance III, IV Ballet V-VI Jazz V, VI 2 credits, 4.5 hours 1-4 credits, 7.5 hours 1-4 credits, 1.5-7.5 hours Continuation of DA 103 A/B. Continuation of DA 201 A/B. Continued development of technique and var- Open to Dance majors only. Prerequisite: Junior status. ious styles as introduced in DA 113 and 213 A/B. The course progresses from basic to DA 205 A/B DA 303 A/B complex rhythm and isolation exercises, and Notation I, II Modern Dance V, VI movement combinations stressing subtlety of 2 credits, 3 hours 1-4 credits, 7.5 hours dynamics, as well as preparation of repertory. Notation I is an introduction to the Laban Continuation of DA 203 A/B. Prerequisite: Junior status. system of recording dance movement. The Prerequisite: Junior status. course deals with the study of basic notation DA 313 symbols for reading and writing movements DA 305 A/B Elements of Performing involving steps, arm and leg gestures, turns, Modern Repertory I, II 2 credits, 3 hours and rhythmic and spatial patterns. Notation II 1 credit, 3 hours Analyzes the qualities of dance technique that comprises intermediate study in reading and A study of contemporary and/or classical serve the ultimate goal of performance as an writing dance phrases including torso, parts of repertory by resident or guest choreographers artist. Students work with the elements of the the limbs, and head. or notators, as well as the viewing, discussion, art of dance performance and discover how and analysis of great works on video and film. inner focus, motivation, dynamics, muscle DA 211 A/B Prerequisite: Junior status. intensity, rhythmic timing, breathing, and Dance History I, II movement texture are the essentials. 3 credits, 3 hours DA 306 A/B Open to Dance majors only. The study of the interaction between dance Jazz Repertory I, II and the society in which it develops, empha- 1 credit, 3 hours DA 317 A/B sizing the changing role and nature of dance. A study of concert and theater jazz dance Dance Composition II, III Dance History I deals with dance from the repertory by resident or guest choreographers 2 credits, 3 hours Renaissance through Diaghilev’s Ballet Russe. or notators, as well as the viewing, discussion, Continuation of DA 217. Problem solving and Dance History II surveys dance from pre- and analysis of great works in video and film. analysis of materials through individual proj- World War II to the present. Prerequisite: Junior status. ects. Special emphasis on group Discipline History choreography. DA 307 A/B Prerequisite: Junior status. DA 213 A/B Ballet Repertory I, II Jazz Dance III, IV 1 credit, 3 hours DA 319 1 credit, 3 hours The study and performance of dances of the Theater Functions Continuation of DA 113 A/B. Renaissance and Baroque periods, followed 1 credit, 1.5 hours Open to Dance majors only. by major classical and modern ballets. A basic production course dealing with con- Prerequisite: Junior status. cepts of lighting and set design for dance. DA 216 Students are required to gain practical experi- Music for Dancers DA 308 A/B ence by working in the theater on dance 1 credit, 1.5 hours Dance Pedagogy I, II concerts during the year. An exploration of various kinds of musical 2 credits, 3 hours materials and literature, from Gregorian chant An introduction to current philosophies and DA 320 to New Music, relating the selection of music practices of teaching dance, and a historical Intermediate Pilates to the creation of dance composition. survey of the role of dance in education. The 1 credit, 1.5 hours Improvisation utilizing different sounds and second semester deals with identification and Continuation of DA 120 instruments. exploration of basic concepts of teaching Prerequisite: One semester Pilates and permission Prerequisite to Dance Composition (DA 217). dance, and application of these principles to of instructor. Open to Dance majors only. the concrete development of lesson plans. Open to Dance majors only. DA 321 A/B DA 217 Pointe I, II Dance Composition I DA 309 A/B 1 credit, 1.5 hours 1 credit, 1.5 hours Partnering I, II Basic technique of dancing ballet on pointe. Integrates the improvisational skills acquired 1 credit, 1.5 hours Women’s dance variations from the earlier in Eurythmics, Improvisation, and The basic technique of adagio (pas de deux). classical repertoire. Music for Dancers. Designed to provide the Students perform major classical works. Open to Dance majors only. beginning choreographer with the tools Open to Ballet majors, and Dance majors with per- needed to structure a dance composition in mission of the instructor. solo and duet forms. Prerequisite: DA 216. Open to Dance majors only.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 143 DA 322 A/B DA 331 DA 410 Improvisation II, III Concepts of Health and Fitness Student Teaching 1 credit, 1.5 hours 2 credits, 3 hours 7 credits, 14 hours Individual improvisations are performed on A survey of the health/fitness industry, which Students teach under supervised direction for themes with objects in restricted or altered covers the following areas: personal training, one semester in a public or private school. If spaces and times. Various structures are used aerobics and dance, wellness, and fitness man- placement for student teaching is not within a for group improvisation. Free improvisation agement. The course prepares students school system, arrangements are made for the with live music is stressed. to assume positions in this growing and student to do this supervised teaching through Prerequisite: Junior status. thriving field. local dance studios. Corequisite: DA 408 B. DA 323 A/B DA 345 A/B Prerequisite: DA 408 A. Tap III, IV Voice I, II 1 credit, 1.5 hours 1 credit, 1.5 hours DA 411 A/B The study and practice of the tap style of Vocal training for the non-Voice major. Jazz VII, VIII dance from simple rhythmic footwork to more Designed to develop the vocal instrument to 1-4 credits, 1.5-7.5 hours complex multi-rhythms and repertory. meet both the musical and nonmusical vocal Continuation of DA 311 A/B. requirements of the theater. Prerequisite: Senior status. DA 324 Character Dance DA 401 A/B DA 417 1 credit, 1.5 hours Ballet VII, VIII Dance Composition IV Deals with the study of the relationship 1-4 credits, 7.5 hours 2 credits, 3 hours between ethnic styles of dance and classical Continuation of DA 301 A/B. Continuation of DA 317. Senior elective ballet, and the proper technique for per- Prerequisite: Senior status. course to assist students in preparation of their forming national dances stylized for the senior concerts. classical ballet repertory. DA 403 A/B Open to Dance majors with Senior status only. Open to Ballet majors, and Dance majors with per- Modern Dance VII, VIII mission of the instructor. 1-4 credits, 7.5 hours DA 418 Continuation of DA 303 A/B. Repertory Etudes DA 325 A/B Prerequisite: Senior status. 2 credits, 3 hours Ballet for Non-majors V, VI Students study a number of Repertory Etudes 1 credit, 1.5-3 hours DA 408 A in a variety of styles to improve performance Continuation of DA 201 A/B. For students Dance Symposium I and technical skills. The solos selected will majoring in Modern or Jazz/Theater Dance. 3 credits, 3 hours reflect the history of American dance. Prerequisite: Junior status. Designed specifically for dance education Students will research the era and, if possible, majors who will be completing their student collect oral histories, thereby adding to the DA 326 A/B teaching requirement in the following materials continually being gathered and Modern Dance for Non-majors V, VI semester. The course includes curriculum and developed. 1 credit, 1.5-3 hours instruction materials, professional preparation, Continuation of DA 203 A/B. For students and evaluation criteria. Discussions center DA 419 A/B majoring in Ballet or Jazz/Theater Dance. around the application of dance principles to Dance Production I, II Prerequisite: Junior status. the learning situation. The role of the dance 2 credits, 3 hours teacher is examined. Designed to assist senior students in meeting DA 327 A/B Prerequisite: Senior status. their graduation performance requirement. Men’s Class I, II Each student participates in the rehearsal, per- 1 credit, 1.5 hours DA 408 B formance, and technical aspects of the The technical movements frequently per- Dance Symposium II senior graduation concerts scheduled at the formed by the male dancer. 3 credits, 3 hours end of each spring. Students are expected to Open to Dance majors only. Designed to complement the actual student take major responsibility for the production of teaching experience. Specific situations, prob- these programs. DA 328 A/B lems, and achievements of the student Open to Dance majors with Senior status only. Jazz for Non-majors V, VI teaching process are discussed and evaluated. 1 credit, 1.5-3 hours Networking and employment opportunities DA 421 A/B Designed for Ballet and Modern majors. The are integral to the course. Pointe III, IV course further develops the vocabulary and Corequisite: DA 410. 1 credit, 1.5 hours skills learned in DA 213 A/B. Continuation of DA 321 A/B. Prerequisite: Junior status. DA 409 A/B Prerequisite: DA 321 A/B. Partnering 1 credit

144 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 DA 422 DA 445 A/B Dance Courses for Styles of Jazz Voice III, IV 1 credit, 1.5 hours 1 credit, 1.5 hours Dance and Non-Dance An exploration of Jazz styles of historic and Continuation of DA 345 A/B. Majors contemporary Jazz dance artists, from Prerequisite: DA 345 A and 345 B. Hip/Hop to Fosse. DA 101 X DA 499 Open to Dance majors only. Beginning Ballet Internship DA 424 1 credit, 1.5 hours 3-12 credits, 90-360 hours/semester A fundamental ballet technique course for Contact Improvisation Internships are a valuable part of a student’s non-Dance majors. 1 credit, 1.5 hours academic experience. By reinforcing and Students learn to develop choreographic ideas expanding classroom theory and practice, DA 103 X through partnered improvisational structures. internships enable students to test career Beginning Modern Dance Exploration of interactive movement qualities choices and gain a greater understanding of 1 credit, 1.5 hours include gravity, leverage, and momentum. the workplace through this initial entry into A fundamental modern dance technique Prerequisite: DA 109 Improvisation I. the professional world. The ultimate goal of course for non-Dance majors. the internship is to assist students in testing DA 425 A/B and expanding their professional skills and DA 104 X Ballet for Non-majors VII, VIII knowledge and enabling them to make Beginning Brazilian Dance 1 credit, 1.5-3 hours informed career decisions. 1 credit, 1.5 hours Continuation of DA 325 A/B. For students Open only to Junior and Senior Dance majors. majoring in Modern or Jazz/Theater Dance. DA 111 X DA 77X Prerequisite: Senior status. Beginning Spanish Dance Dance Ensembles/Labs 1 credit, 1.5 hours DA 426 A/B 1 credit, 3-4.5 hours Modern Dance for Non-majors VII, DA 113 X DA 772 VIII Beginning Jazz Dance Ballet Ensemble 1 credit, 1.5-3 hours 1 credit, 1.5 hours Continuation of DA 326 A/B. For students 1 credit, 3-4.5 hours A fundamental jazz dance technique course majoring in Ballet or Jazz/Theater Dance. for non-Dance majors. Prerequisite: Senior status. DA 773 Modern Ensemble DA 114 X DA 427 A/B 1-3 credits, 3-9 hours Karate Elective Men’s Class III, IV 1 credit, 1.5 hours 1 credit, 1.5 hours DA 774 Continuation of DA 327 A/B Jazz Ensemble DA 123 X 1 credits, 3-4.5 hours DA 428 A/B Beginning Tap Dance 1 credit, 1.5 hours Jazz for Non-majors VII, VIII DA 775 A fundamental tap technique course for non- Senior Ensemble 1 credit, 1.5-3 hours Dance majors. Continuation of DA 328 A/B. For students 1-3 credits, 3-9 hours majoring in Ballet and Modern Dance. DA 201 X DA 776 Prerequisite: Senior status. Advanced/Beginner Ballet Tap Ensemble DA 430 1 credit, 1.5 hours 1 credit, 3 hours A continuation of DA 101 X. Survey of the Business of Dance 2 credits, 2 hours DA 203 X Emphasizing the development of tools and Advanced/Beginner Modern skills necessary for realizing individual pro- 1 credit, 1.5 hours fessional goals, vehicles and processes for A continuation of DA 103 X. change in the various fields of dance within our society. Develops an awareness of man- DA 204 X aging life and work as a professional in dance. Advanced/Beginner Brazilian Topics include basic business principles as 1 credit, 1.5 hours well as career self-management and an overview of career opportunities. Guest DA 211 X speakers will include faculty and staff from Intermediate Spanish Dance within the University as well as experts from 1 credit, 1.5 hours the field. DA 213 X Advanced/Beginner Jazz Dance 1 credit, 1.5 hours

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 145 DA 223 X EM 203 Advanced/Beginner Tap Electronic Media Digital Interactive Techniques 1 credit, 1.5 hours 1.5 credits, 3 hours EM 110 Addresses the development of computer skills DA 301 X Computer Concepts in digital time-based software and cyberspace Intermediate Ballet 3 credits, 3 hours software. Special attention is given to interac- 1 credit, 1.5 hours A conceptual and hands-on course that intro- tivity and theories of informational architecture. Technical expertise and efficient DA 401 X duces the student to the foundations of digital processes in the arts. Experience with word working methodologies are applied to prob- Advanced Ballet processing, basic spreadsheet usage, database lems in both individual and group projects. All 1 credit, 1.5 hours search techniques, digital photography, scan- software is standard in current graphic design ning, image processing, compositing, and industry practice. basic page layout techniques. Includes an Prerequisite: EM 202 or permission of the introduction to online services, Dialog and the instructor by portfolio and interview. World Wide Web, along with a basic under- EM 210 standing of HTML. Software usage includes Digital Multimedia Microsoft Word, Excel, QuarkXpress, Adobe PhotoShop, and Illustrator. Students are given 3 credits, 3 hours assignments in each of the software environ- The elements of digital multimedia production ments as well as supplemental readings. techniques used to create Internet Websites No prior computer experience is required. and interactive programs. Hands-on produc- tion experience as well as a perspective on EM 201 developments in this rapidly growing field Electronic Media/Production I through readings and lectures. The first half of 1.5 credits, 3 hours the semester is dedicated to learning the basics Addresses the development of foundation of Macromedia Director and sound manipula- computer skills in image scanning technology, tion software utilized to create interactive desktop publishing, digital photographic tech- projects that combine images, sound, and ani- nologies, and basic output procedures. mation. Technical expertise and efficient working The balance of the semester is dedicated methodologies are applied to problems that to the creation of a Website using are brought into the class from other design Macromedia Dreamweaver. Emphasis is courses as well as from both individual and on clear communication and the creation of group assigned projects. All software is stan- intuitive interactive interfaces. dard in current graphic design industry Prerequisite: EM 110 or equivalent introductory practice. course that includes experience with the Macintosh operating system and a working knowledge of Adobe Prerequisite: Second-semester Sophomore status in PhotoShop, or permission of the instructor. the Graphic Design department.

EM 202 EM 221 Electronic Media/Production II Virtual Sculpture 1.5 credits, 3 hours 3 credits, 3 hours An extension of EM 201. Addresses the devel- Students will create physical models made of opment of advanced computer skills in image Styrofoam, wax, or clay, and create virtual scanning, technology, desktop publishing, pre- versions of the same models. Working back press production, color, output technology, and forth between the real and the virtual, stu- and digital photographic technologies. Special dents will gain an understanding of the attention is given to comparative study of differences and similarities of the ideas gener- output technologies and the translation of the ated by each working style. Computer- on-screen image to offset lithography. generated images will be combined with pho- Technical expertise and efficient working tographs of physical maquettes and real methodologies are applied to problems that environments. Final products will be digital are brought into the class from other design files and 2D prints or slides suitable for com- courses as well as from both individual and mission proposals, presentations, and artist’s group assigned projects. All software is stan- portfolios. dard in current graphic design industry Prerequisite: EM 110 or equivalent introductory practice. course that includes a working knowledge of Adobe PhotoShop, or permission of instructor. Prerequisite: EM 201 or permission of the instructor by portfolio review and interview.

146 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 FA 235 FA 460 Fine Arts Media/Techniques Senior Fine Arts Seminar 1.5 credits, 3 hours 1.5 credits, 3 hours Fine Arts courses are open to non-Fine A three-hour studio course of instruction and The artist’s role in historic and contemporary Arts majors on an elective basis as space demonstration in a variety of traditional tech- contexts. Issues surrounding the various pur- and experience permits. nical approaches to the handling of paint poses of art and how culture deals with artists media, including the preparations of grounds are explored through discussion with visiting FA 205 and supports. Media options could include oil, artists, alumni, and faculty. Students work Concepts/Works on Paper acrylic, encaustic, casein, gouache, gold- toward the acquisition of a professional profile 3 credits, 6 hours leafing, fresco, and egg tempera. This course in resumé, artist statement, and slide prepara- Offers an opportunity for idea development, is unique among our course offerings in its tion. Discussion of gallery practices and visual perception, and the organization of focus solely on physical processes, not con- portfolio presentations cultivate an awareness experience into compositions. Primary cept- or image-development. of professionalism and career opportunities in the fields of painting, printmaking, and emphasis is on developing visual expression, FA 330 skill in using various materials, and growth of sculpture. Drawing: Site-Specific Projects critical evaluative abilities through group dis- Prerequisite: Completion of Junior studio course- cussions and critiques. Contour drawing, 3 credits, 6 hours work. Focus on the production of drawings and collage, Xerox transfer, book arts, and other IN 449 experimental drawing and printing techniques models of site-specific projects. Issues related Crafts, Fine Arts Internship are explored. Students are encouraged to com- to public art, environmental art, public and bine media. private realms, materiality, site selection, and 3 credits, 6 hours site specificity are explored. Opportunities to apprentice to practicing FA 222 artists, gain gallery experience, and work with FA 333 A Drawing: Form and Space nonprofit organizations, which lead to prac- Attitudes and Strategies 3 credits, 6 hours tical experience and knowledge about the An introduction to the issues of drawing, 3 credits, 6 hours field. including perception, analysis, invention, and A studio-criticism course jointly coordinated Graded Pass/Fail. experimentation. A variety of thematic ideas, by the three Fine Arts areas, which presents Open to Juniors, Seniors, Fine Arts and structural possibilities, and imaginative inter- issues that cross over the unique domains of Crafts students. pretations are explored. Students are exposed the sculptor, the printmaker, and the painter. to a wide spectrum of precedents in the history Fine Arts students from all three majors work of drawing and are encouraged to enlarge their on projects designed to increase their aware- working definitions of how form and space ness of the attitudes and strategies embodied can be effectively expressed. in artworks. Concepts such as idealism, natu- ralism, and expressionism are explored in FA 223 light of their implication for form-making Introduction to Figure Modeling methods and principles. Lectures, studio proj- 3 credits, 6 hours ects, and group critiques create a forum for Modeling from life for the beginner, stressing advanced study of the purposes and contexts direct observation, eye-hand coordination, and of the Fine Arts. depth discrimination. Both perceptual and FA 424 A/B conceptual skills are developed and funda- Drawing References mental studio practices are taught, such as armature construction, clay utilization, and 1.5 credits, 3 hours modeling techniques. Works are fired in clay Advanced drawing projects focusing on the or cast in plaster. relation between a given work and its refer- ences and resources. Emphasis is on FA 234 understanding the nature of references or Drawing Studies resource material and the manner in which 1.5 credits, 3 hours references or resources influence the outcome A three-hour studio course advancing the of a work. This studio/critique course aims at objectives of FA 222 Drawing: Form/Space. enhancing students’ ability to connect their Emphasis will be on two essential concerns: personal and subjective interests to the larger process and purpose. Students will be context of nature, history, and culture. expected to carry out sustained involvement in Prerequisite: PT 334, PR 333, or SC 333. specific projects focused on method and con- tent. Studio practices will include both open-ended invention and closed-system approaches. This kind of sustained focus on a variety of techniques and themes will culmi- nate in a final term project. Prerequisite: Sophomore status.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 147 MFA in Ceramics, FA 691, FA 692 FA 781, FA 782 Independent Studio I, II in Thesis Writing Project I, II Painting, or Sculpture Ceramics, Painting, or Sculpture 1.5 credits, 3 hours (Winter/Summer Critique) The Thesis Writing Project is a corequisite of FA 610 3 credits per semester, 5 hours Thesis Preparation I and II, and takes place Studio Topics The Independent Studio is intended to assist during the fall and spring off-campus semes- 3 credits, 5 hours repeatable students in establishing independent produc- ters. Research for the Thesis Writing Project is Brings together students from each of the tion in their major discipline while acquiring intended to inform the student’s second-year major disciplines to explore studio issues the ability to integrate studio production with independent studio activity, which focuses on common to all visual arts. the demands of off-campus life. At the conclu- identifying and developing potential directions Open only to SUMFA students. sion of Summer I and, subsequently, Winter for the thesis exhibition and written thesis. Critique I, the student and faculty mentor The student is expected to consider issues FA 611 agree on a plan of work to be pursued during raised during the previous summer’s seminar Graduate Drawing the off-campus semester, which will be a con- that are particularly relevant to the more 3 credits, 5 hours tinuation of work begun in the previous focused direction of his or her studio work. An advanced studio focused on developing semester. The students are required to propose The student independently formulates a pro- and expanding students’ visual language and a direction for their investigations and have posal and bibliography for a formal paper to skills while challenging their conceptual access to off-campus studio space within be based upon the more developed direction of approach to drawing by examining and which to carry out the proposal. Enrollment in his or her work. The range of issues consid- applying the use of materials and methods the Independent Studio requires a commit- ered for further investigation may include having historic and cultural origins. ment of 150 hours, equivalent to 10 hours of aesthetic, conceptual, technical, or visual cul- Open to all CAD graduate students upon studio activity per week during the 15-week ture issues as well as the relationship of the portfolio approval. off-campus semester. The studio mentor meets major work to other disciplines. with the student five times during the semester Prerequisites: FA 692, FA 781. FA 612 at three-week intervals, reviewing the stu- Professional Practices dent’s progress for a 1-2 hour session. The FA 793 3 credits, 5 hours first meeting is a group meeting held on Thesis Preparation I Designed to familiarize students with campus and the next three are held as indi- 3 credits, 5 hours methods, practices, and professional standards vidual critiques at the student’s studio. One Following the successful completion of in preparation for the thesis exhibition and meeting may take place at the mentor’s studio. Summer II and the MFA Candidacy Review, eventual entry into the visual arts professions. The last meeting is the final critique of the the student is declared a degree candidate and Prerequisite: FA 611. semester, which takes place at the Winter may begin independently producing a body of Critique held at the University. work intended for eventual presentation in the Open to SUMFA students only. thesis exhibition following completion of Summer III. In consultation with the studio FA 695, FA 696 mentor, the student submits Thesis Independent Writing Project I, II Preparation Plan I, identifying and describing 1.5 credits, 3 hours a direction of investigation to be undertaken The Independent Writing Project is a corequi- during the fall semester. The student is site of the Independent Studio I and II, and is expected to identify specific issues to be intended to inform the student’s ongoing addressed: intended focus of the work, consid- Independent Studio investigations undertaken erations of technique, materials, scale, during the fall and spring off-campus semes- location, etc. The student must propose a per- ters. The student proposes an area of research sonal timetable for accomplishing the thesis intended as a continued examination of topics and identify the sources that will be used in introduced during the previous summer semi- preparation for the exhibition. Enrollment in nars, Structure and Metaphor or Art and Thesis Preparation I and II requires a commit- Society. The student is encouraged to explore ment of 150 hours, equivalent to 10 hours of through writing the range of issues emanating studio activity per week during the 15-week from seminar reading and discussion, and the off-campus semester. relationship of these external influences to the Prerequisite: FA 692. development of themes and directions being explored in the studio work. FA 794 Open to SUMFA students only. Thesis Preparation II 3 credits, 5 hours In consultation with the studio mentor, thesis candidates propose further development of directions begun in studio work the previous semester by submitting Thesis Preparation Plan II for the spring semester to the mentor. Prerequisite: FA 793.

148 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 FA 795 FP 104 Thesis Exhibition Foundation Materials, Tools and Form 6 credits, 10 hours 1.5 credits, 3 hours The MFA degree certifies that the artist has FP 101 This course will instruct students in those attained a high level of competence and inde- Drawing and Sketching basic manual skills that will help them build pendent judgment in the discipline and is 1.5 credits, 3 hours three-dimensional objects and spatial works. qualified to stand with his/her mentors as a This course is intended to provide individuals No prior experience with manual media or a master artist. The thesis exhibition and accom- who are not majoring in the visual arts with portfolio of work is required to enroll in this panying written thesis are intended to serve as the basic skills required to represent the form course. Paper and wood are the primary mate- a demonstration of this mastery. During the of simple objects and the presence of space on rials that will be used to execute freestanding final semester, criticism-based research is a two-dimensional surface. No prior drawing objects of various sizes and all assignments undertaken as a continuation of the summer experience or portfolio of work is required to will include instruction on how to best use and seminar in Criticism and is intended to assist enroll in this course. The class will include extend the physical properties of these mate- the MFA candidate in completing the written instruction in the basics of linear perspective rials. Students will be challenged to fabricate component of the thesis requirements. using both optical and diagrammatic methods. works with multiple parts as well as works Prerequisite: FA 794. In-class projects will focus on fundamental that include some formal and mechanical principles while homework assignments will complexity. Assignments that focus on the support the students as they develop the ability design of spaces and the modeling of environ- to sketch and draw, and think and plan, using ments will also be included. Instruction will manual drawing tools and materials. be conducted in the foundation studio and wood shop and all students will be given an FP 102 orientation to the safe use of that facility and Sketching the Human Figure all of its power tools. 1.5 credits, 3 hours FP 110 This course is intended to provide individuals Drawing who are not majoring in the visual arts with an introduction to some of the materials, 3 credits, 6 hours methods, and processes useful when drawing Drawing is approached as a process by which the human figure. No prior experience with the student examines and investigates the manual media or portfolio of work is required visual world. Line, mark, and shape are to enroll in this course. The course will intro- among the drawing elements emphasized in duce a basic series of drawing exercises using the first semester. With these tools, students the figure as a subject. Analytical and respon- examine the form and structure of various sub- sive approaches will be compared and a range jects while they improve their manual skills, of materials including pencil, charcoal, and strengthen their vision, and begin to define collage will be used. The figure and the figu- their drawing vocabulary. Graphite and char- rative volume in its immediate spatial coal pencils and a range of appropriate papers environment will be studied and the ability to are the most frequently used materials. capture the gesture, appropriate scale, propor- Historical precedents are discussed, master tion, and mass of the figure will be stressed. works analyzed, and relevant practical infor- Homework assignments will apply principles mation–including the elements of spatial learned in class. representation–is assimilated into the flow of class assignments. Focus is on the challenges FP 103 and rewards of developing perceptual skills. Color Basics Prerequisites:Acceptance by portfolio review and 1.5 credits, 3 hours FP 101 or FP 102. This course is intended to provide individuals who are not majoring in the visual arts with the basic skills required to work with some of the fundamental properties of color and use them for representational purposes. The course will introduce the basic color vocabu- lary and begin training the eye to perceive and apply the distinctions of hue, value, tone, and temperature. Methods of color classification will set the stage for a sequence of projects designed to help students develop the ability to begin working with color formally and descriptively. Homework assignments will apply principles learned in class.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 149 FP 111 FP 121 FP 131 Drawing Two-Dimensional Design Three-Dimensional Design 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours Building on the sensibilities, skills, and infor- Builds on the projects and skills established in Building on the skills, language, and sensibili- mation of FP 110, students refine their FP 120. The majority of FP 121 is devoted to ties of FP 130, the second semester undertakes perceptual abilities, utilize new media such as the introduction and extended study of color. more complex projects. Some projects involve charcoal and inks, and develop additional The major works of the semester are based in the combining of several materials and require drawing strategies. Students undertake the the use of acrylic paints and require skills of the assembly of multiple parts. The semester analysis of complex natural objects, sculpt mixing and application. Other color mediums builds in complexity, exploring the challenges volume with line and tone, encounter the chal- such as collage, pastels, watercolors, and oil of scale and engaging time and movement as lenge of drawing the human figure, and meet sticks are also explored. Color theories are part of their conception. Included is the intro- other situations, which demand the assimila- discussed, projects requiring tinting, shading, duction of environmental works, setting in tion of new information and the application of and toning clarify these basic concepts and place new principles of three-dimensional advanced skills. Controlling proportion, master works of color are studied. Ideas devel- organization, researching the order of nature, building volume, and engaging the illusion of oped in the class are shared with other and taking up the challenge of representation space, while at the same time developing the Foundation courses and skills from three- in three dimensions. Faculty relate works and desired quality of light and illumination are dimensional and drawing classes are imported share principles with either the two-dimen- the descriptive goals of the semester. Faculty to support current two-dimensional projects. sional or drawing classes, and attempt to bring skills, projects, and information devel- Representational and nonrepresentational harvest skills and sensibilities developed in oped in the two- and three-dimensional design form is developed as students integrate past those classes into the service projects in classes into the service of drawing. experience, refine their skills of observation, Three-Dimensional Design. Prerequisite: FP 110. expand the study of visual forces, and explore Prerequisite: FP 130. more complex principles of organization. FP 120 Prerequisite: FP 120. FP 140 Two-Dimensional Design Time and Motion 3 credits, 6 hours FP 130 3 credits, 6 hours A focused introduction to the two-dimensional Three-Dimensional Design An introduction to the fundamental principles plane and its elements. The first semester 3 credits, 6 hours of time-based art: sequence, movement, defines the terminology and sharpens the Introduction to concepts of mass, volume, timing, motion design, principles of anima- ability to discern and use the visual elements space, the properties of materials, and the tion, perception, and concepts of narrative. of point, line, shape, and pattern. These funda- unique visual qualities of three-dimensional Students work in a variety of media using mental elements are studied as independent form. The introduction of three-dimensional manual, computer, video, and body-based units and brought together, supporting and ideas and related terminology is combined approaches. animating one another, in a variety of formats. with the instruction in the use of materials Prerequisites: FP 110, FP 120, and FP 130. Skills in the use of black and white media such as paper, wood, plaster, and clay, and the such as inks, plaka, and acrylic pigments and operation of hand and power tools. Students equipment including technical pens, brushes, develop the practical experiences needed to and drafting tools are developed in the first make objects that counteract and respond to semester. The visual forces discovered during forces and answer visual requirements. As the efforts to combine these elements and mate- semester progresses, challenges of assembly, rials define the more complex subject of the scale, and visual complexity increase. class. Inventive processes, form generation, and con- Prerequisite:Acceptance by portfolio review or struction are undertaken as properties of FP 103. materials join with visual goals to develop new forms. Most importantly, students under- stand that they have access to a new language as they learn to see, think, and plan three- dimensionally. Prerequisite:Acceptance by portfolio review or FP 104.

150 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 GD 212 GD 306 B Graphic Design Typography Fundamentals Typography Emphasis 3 credits, 6 hours 3 credits, 6 hours GD 105 The course addresses the basic formal lan- An extension and continuation of GD 306 A. Freshman Graphic Design Projects guage of typography and the application of The typographic principles of the grid, text 1.5 credits, 3 hours typographic principles to frame basic commu- typography, text hierarchies, image integra- An elective course introducing the Foundation nication messages. Typographic investigations tion, all within the context of a multi-page student to the profession of graphic design and are achieved by both manual and digital format. its working processes. The classwork begins means. Students must have working knowledge of with directed formal studies and leads to an Prerequisites: GD 210 and enrollment in EM 201, QuarkXpress and basic Macintosh operation introductory communication project. or permission of instructor by portfolio review and or be concurrently enrolled in EM 203. Emphasis on the craftsmanship and working interview. Working knowledge of Adobe Illustrator and Adobe PhotoShop is preferred. methods of the student as well as the breadth GD 213 A and depth of the student’s individual investiga- Prerequisite: EM 202, GD 306 A, or permission of Design Systems tive process. Studio lecture/demonstrations the instructor by portfolio review and interview. 3 credits, 6 hours focusing upon professional case studies and GD 310 A field trips. An intensive laboratory where the formal aspects of composition, organic and geometric Photographics I GD 210 form, color, symbolic drawing, craftsmanship, 3 credits, 6 hours Letterform Design and processes of conceptualizing are investi- Develops a designer’s methodology and view- 3 credits, 6 hours gated. Assignments are founded on directed point to achieve both structure and meaning in The analysis and development of letterforms. goals and playful investigation to train the stu- photography, and as a way to extend the range The norms of weight, proportion, character dent in areas of selection, self-criticism, set of how objects and nature can be seen and width, and alphabetic relationships are devel- theory, and visual logic. translated using photographic processes. The oped perceptually, by hand. This course Prerequisite: Completion of the Foundation pro- course explores darkroom techniques, con- stresses the inherent optical relationships that gram, or permission of the instructor by portfolio trolled lighting, and studio setups. Students exist in the construction of typefaces derived review and interview. use both traditional photography and digital software to create hybrid photographic from the Latin alphabet. GD 213 B Prerequisite: Completion of the Foundation pro- images. Extensive studio and darkroom work Design Systems gram, or permission of the instructor by is required. Prerequisites: PF 211 A and Junior status in the portfolio review and interview. 3 credits, 6 hours A continuation of GD 213 A. Further investi- Graphic Design department, or permission of the GD 211 A gation of the visual language of design, instructor by portfolio review and interview. culminating in a basic communication Descriptive Drawing GD 310 B 3 credits, 6 hours problem. Photographics II A freehand drawing course based upon obser- Prerequisite: GD 213 A. 3 credits, 6 hours vation and analysis of the underlying structure GD 306 A and form of man-made and natural objects. An upper-level elective studio in photography. Typography Emphasis Logical representation and problem solving Students undertake self-initiated projects are emphasized. A visual vocabulary of line, 3 credits, 6 hours to explore various applications of the con- shape, value, texture, and spatial organization This course investigates and defines advanced structed photograph. The designer’s is addressed to develop drawing as a method- principles of typography in a communication perspective and working process are used to ology for research and invention. context. Directed research based upon typo- focus the communication aspects of the Prerequisite: FP 111, or permission of the graphic norms addresses the issues of imagery. Past topics have included medium- instructor by portfolio review. informational hierarchies achievable through and large-format cameras, advanced studio visual form and structure as well as the lighting, and advanced printing and darkroom GD 211 B editorial and expressive potentials of techniques. Extensive studio and darkroom Descriptive Drawing typography. Coursework uses traditional and work. Traditional and digital media can be 3 credits, 6 hours digital technologies. explored. A continuation of GD 211 A. A freehand ana- Students must have working knowledge of Prerequisite: PF 211 A Introduction to Photography lytical drawing course that addresses organic QuarkXpress and basic Macintosh operation or permission of the instructor by portfolio review form and objects from nature. Drawing skills or be concurrently enrolled in EM 202. and interview. are developed to sketch and research visual Working knowledge of Adobe Illustrator is concepts, as well as to use the medium for the preferred. invention of original images in upper-level Prerequisites: EM 201 and Junior status in the courses. Graphic Design department, or permission of the instructor by portfolio review and interview. Prerequisite: GD 211 A.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 151 GD 311 A GD 316 A GD 411 A Communications Studio Drawing Applications I Design Studio 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours Developing an understanding of visual rela- The use of drawing as both an expressive and A wide-ranging exploration of the connections tionships and how to use them to create visual an informational vehicle to solve communica- between image and text, and symbolic and impact and clarity while solving communica- tions problems. Formal issues of composition, narrative imagery, supported by studies in tions problems. Invention, intuition, and selection, and color as well as the conceptual semiotics, information theory, and research discovery are combined with logical thought issues of narrative, sequence, and representa- methodology. Both traditional and computer and thorough preliminary research. Special tion are focused toward the communication of technologies within a thorough research attention is given to refining the student’s per- ideas, emotions, and information. process are included. Preliminary research and ceptual abilities, hand skills, and the Prerequisite: GD 211 B, or permission of the definition of a self-generated degree project is integration of various media. Use of both tra- instructor by portfolio review and interview. undertaken by Graphic Design majors in this ditional and computer technologies. course. Prerequisites: EM 201 and Junior status in the GD 316 B Prerequisite: Senior status in the Graphic Design Graphic Design department, or by permission of the Drawing Applications II department, or by permission of the instructor by instructor by portfolio review and interview.Students 3 credits, 6 hours portfolio review and interview.Students should have must have working knowledge of Adobe Illustrator, An upper-level elective drawing course in expertise in QuarkXpress or Aldus PageMaker, basic image scanning, and basic Macintosh opera- which students initiate individual projects that Adobe Illustrator or Aldus Freehand, and Adobe tion, or be concurrently enrolled in EM 202. use drawing as the primary medium to solve PhotoShop. communications problems. Various media, GD 311 B mixed media, and hybrid images are explored GD 411 B Communications Studio in a thorough research-oriented design Design Studio: 3 credits, 6 hours process. Connection between formal issues Senior Degree Project A continuation of GD 311 A, concentrating on and communication effectiveness is stressed. 3 credits, 6 hours the development of color, sensitivity, and per- Prerequisite: GD 316 A, or permission of the A self-generated degree project is developed ceptual abilities within a communications instructor by portfolio review and interview. involving research, proposals, complete context. A working process that develops design formulation, and final presentation. invention through logical thought and intuition GD 322 Topics are reviewed by a panel of faculty in is applied to communications problems. Use Three-Dimensional Graphic Design Graphic Design, with projects reviewed by an of both traditional and computer technologies. 3 credits, 6 hours outside critic midway through the preliminary Prerequisites: EM 202 and GD 311 A. Students Explores the design of messages in spatial stages of development. This course uses both must have working knowledge of Adobe Illustrator, environments. Investigation of the relationship traditional and computer technologies within a basic image scanning, and basic Macintosh opera- between the communication of messages thorough research process. tion, or be concurrently enrolled in EM 203. within the context of scale, surface texture, Prerequisites: GD 411 A and GD 412 A. Students light modulation, and their application to should have expertise in QuarkXpress or Aldus GD 313 three-dimensional form, combine both experi- PageMaker,Adobe Illustrator or Aldus Freehand, Color and Image Concepts mental and practical criteria. Although and Adobe PhotoShop. Experience in Macromedia 3 credits, 6 hours traditional methods of conceptualizing are Director is desirable. Addresses color and image concepts devel- used within a thorough visual process, exten- oped deductively from nature and inductively sive computer work is involved. GD 412 A/B thorough experimental, perceptual analysis. A Prerequisite: Junior status in the Graphic Design Problem Solving communications problem in which color is the department, or permission of the instructor by port- 3 credits, 6 hours prominent vehicle is solved in a thorough folio review and interview.Students should have Develops approaches to solving communica- research process. Diverse media are explored. expertise in QuarkXpress or Aldus PageMaker, tions problems of broad scope and Applications may use two- and three-dimen- Adobe Illustrator or Aldus Freehand, and Adobe increasingly practical application across sional formats. PhotoShop. varied media formats. Students work within Prerequisite: Junior status in the Graphic Design technical and time constraints. The course department, or permission of the instructor by port- GD 326 uses both traditional and computer technolo- folio review and interview. Single Image gies within a thorough research process. 3 credits, 6 hours Prerequisite: Senior status in the Graphic Design The design of a complete publicity unit as program, or permission of the instructor by portfolio exemplified in a poster. review and interview.Expertise in QuarkXpress or Prerequisite: Junior status in the Graphic Design Aldus PageMaker,Adobe Illustrator or Aldus Free department, or permission of the instructor by port- Freehand,Adobe PhotoShop, and Macromedia folio review and interview. Director is necessary.

152 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 GD 426 01 Graduate Seminars Advanced Typography Liberal Arts 3 credits, 6 hours GR 691 This elective course addresses typography as University Seminar: HU 008 A/B both the primary vehicle to communicate Structure and Metaphor English as a Second Language I, II information and as a support to images. 3 credits, 3 hours 3 credits, 3 hours Assignments range from informational design An interdisciplinary seminar in which students Prepares students for whom English is a to expressive, content-based problems, to intu- from all graduate programs examine theoret- second language to produce the kinds of itive investigations and formal experiments. ical issues of structure and metaphor in writing expected of them on the college level, Problems may incorporate both static and relation to art and design. Topics include and to improve their reading and critical moving formats, both print and non-print envi- cognition and perception, meaning and repre- thinking skills. This is a two-semester require- ronments. Although traditional methods of sentation, and systems of organization and ment. HU 008 A provides a review of English conceptualizing are used within a thorough expression. grammar, sentence structure, and paragraph visual process, extensive computer work is (May be taken to satisfy Aesthetics and Art development. It focuses primarily on the involved. Criticism corequisites for the MAT program.) development of fluency in writing and Prerequisite: Senior status in the Graphic Design Graduate students only. reading. The second semester focuses on the department, or permission of the instructor by port- different kinds of prose techniques and on folio review and interview.Students should have GR 692 responding in writing to readings and to the expertise in QuarkXpress or Aldus PageMaker, University Seminar: work of other students. A workshop format Adobe Illustrator or Aldus Freehand, and Adobe Art and Design in Society engages students in collaborative learning PhotoShop. Experience in Macromedia Director is 3 credits, 3 hours activities. desirable. An interdisciplinary seminar in which students Weekly proctored writing sessions with a GD 426 02 from all graduate programs examine theoret- minimum of 10 essays per semester and tutoring sessions are mandatory. Credits for Advanced Typography ical issues relating to the place of art and design in society. Topics include the social HU 008 A or B do not count toward gradua- 3 credits, 6 hours role of the artist/designer, public policy and tion. On rare occasions, students may be Focuses on the design of the human experi- the arts, issues of post-modernism, and aes- exempted from HU 008 B by the instructor. ence with technology. As designers, our thetic and ethical implications of emerging HU 008 A and B are graded on a pass/fail processes and principals for shaping 2D and arts and communications technologies. basis. A student who successfully completes 3D information and artifacts have improved (May be taken to satisfy Sociology/Anthropology the sequence enters HU 110 A. our physical environment and the ways in corequisites for the MAT program.) which we communicate. Explores how these Graduate students only. HU 009 and HU 109 B practices apply to the design of the digital arti- First Year Writing fact and the man-machine interface. XX 699 3 credits, 3 hours Prerequisite: Senior status in the Graphic Design Graduate students may register for upper-level Designed to help students improve reading, Department, or permission of the instructor by port- undergraduate liberal arts courses and studio writing, and study skills. The emphasis is on folio review and interview.Students should have electives for graduate credit. Graduate stu- technical aspects of writing, including expertise in QuarkXpress, Illustrator,PhotoShop, dents will be expected to contribute at a higher grammar, punctuation, word usage, and para- and Macromedia Director. level in the classroom and will have additional graph construction, along with reading IN 440 assignments (readings, papers, etc.) in order to comprehension, vocabulary, and sentence structure. Grades in HU 009 are on a pass/fail Design Internship be granted graduate credit. Students are advised to select an area of study that basis only. 3 credits, 90 hours/semester broadens or intensifies their background in the HU 009 credits do not count toward degree Open to Graphic Design, Illustration and Industrial arts, education, and related disciplines. Often requirements. Design majors only. this work contributes directly to preparation of HU 009 B substitutes for HU 110 A. Students suc- the graduate project proposal. In order to reg- cessfully completing HU 009 B will take HU 110 B ister for an upper-level undergraduate course the following semester. and receive graduate course credit, the student must submit a completed special topics/inde- HU 103 A/B pendent study form to the Office of the Introduction to Modernism I, II Registrar. 3 credits, 3 hours A multi-arts viewpoint that explores the his- GR 791 torical and cultural inheritance of the West University Seminar: Criticism over the last two centuries. The first semester 3 credits, 3 hours concentrates on the period 1776-1914 and An interdisciplinary seminar in which examines the complex movements known as advanced graduate students further examine romanticism and realism; the second semester the nature of image-making and design with covers the next half-century of high mod- particular attention to the theories and applica- ernism and its consequences. tions of criticism. Required of all UArts undergraduates. Prerequisite: GR 692. Graduate students only. Common Core

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 153 HU 110 A/B HU 140 B HU 210 A First Year Writing I, II Art History Survey II 19th Century American Writers 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A year-long writing course, the theme of A continuation, from the Renaissance to the The major ideas and trends in 19th century which is “Artists as Writers.” Covers the var- present day, of the survey of Western visual American literature, including works by Poe, ious kinds of writing that artists may be arts begun in HU 140 A. Major styles and Hawthorne, Melville, Dickinson, and James. expected to produce, ranging from informal periods: baroque, romanticism, realism, mod- Literature generative writing to formal critical analysis, ernism. The arts are presented in cultural and and from presentational writing to research. historical context. HU 210 B The student will write about the arts Discipline History/Humanities 20th Century American Writers (including the student’s own work), the artist, 3 credits, 3 hours and the artmaking process. The first semester HU 162 20th century American writers including focuses on the artist and artmaking, and the Individual and Society works by Wharton, Lewis, Hemingway, second semester on the various arts-visual 3 credits, 3 hours Fitzgerald, and Steinbeck. arts, dance, music, theater, multimedia, and Examines the concepts of “individual” and Literature literature–regarded from various cultural “society” and how they are related under perspectives. modern social conditions. It treats society and HU 211 Required for all UArts undergraduates. social institutions as fundamental realities and Women Writers Common Core considers the ways in which social forces 3 credits, 3 hours affect individual personality and identity. It An examination of literature written by HU 130 A/B provides an introduction to the perspective of women, studied for its uniqueness and, French I sociology as distinct from that of psychology. equally important, for its significance to the 3 credits, 3 hours Topics include socialization, social solidarity, mainstream of literature. The course begins Study of the basic elements of French morality, authority, deviance, individualism, with such writers as Jane Austen, Emily grammar through conversation and drills and freedom. Brönte, and Virginia Woolf, and concludes derived from readings of easy modern prose Social Science with contemporary writers. and from a cultural reader. Literature Humanities HU 181 A Child and Adolescent Psychology HU 212 HU 131 A/B 3 credits, 3 hours Introduction to Mythology German I This course focuses upon Erikson’s psychoso- 3 credits, 3 hours 3 credits, 3 hours cial stages of life from birth to adolescence. This course begins by defining mythmaking A one-year course of basic grammar. The aim Major topics include pregnancy, the birth (a creative process essential to all societies, of the course is to develop the reading, process, and the physical, intellectual, emo- past and present) and by analyzing the dif- writing, and speaking skills of the first-year tional, and social development of the child. ferent approaches to myth. It moves on to German student. Family life and parent-child relationships are examine creation myths from around the Humanities also examined, with particular attention given world and, finally, a selection of myths from to the impact of our social institutions upon different cultures. HU 132 A/B parents and children. Literature Italian I Social Science 3 credits, 3 hours HU 213 This course covers basic grammar and conver- HU 181 B World Drama sation about everyday Italian life and culture Adult Psychology 3 credits, 3 hours and basic grammar through reading of Italian 3 credits, 3 hours This course examines some of the most prose. This course focuses upon Erikson’s psychoso- important periods in dramatic literature before Humanities cial crises from adolescence to death. Major the modern period, in both the Western and topics include career choice, human sexuality, non-Western traditions: Classical Greece and HU 140 A love, marriage, values, mental health and Rome, India of Kalidasa, Medieval Europe, Art History Survey I mental illness, aging, and death. Japan (Noh and Kabuki), Renaissance Italy 3 credits, 3 hours Social Science and Spain, Neoclassical France, Romantic A survey of Western visual arts (including drama, and opera. The relation of drama to architecture) from the earliest extant examples HU 201 ritual as a worldwide phenomenon. Emphasis (cave paintings) to the Renaissance. The focus Lyric Poetry on the relation of dramatic styles to the cul- will be on ancient Greece and Rome, and 3 credits, 3 hours tures and theaters within which they medieval Europe. The arts will be presented in A survey of lyric poetry, with particular developed, and exploration of the idea of cultural and historical context. emphasis on a single period or a group of “total theater” in which poetry, song, dance, Discipline History/Humanities poets, e.g., Walt Whitman, Emily Dickinson, and music fuse together. Wallace Stevens, Allen Ginsberg, Sylvia Plath, Literature and the English Romantics. Literature

154 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 HU 216 HU 221 HU 242 A The Short Story Forms of Autobiography Northern Renaissance Art 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours A study of the short story from Poe to the Intimate, revelatory explorations of the many The painting of the late Gothic illuminators present. Samplings from the British, the worlds of the self; Hemingway as a young and the 14th century German and Flemish Americans, and the Europeans, with particular writer in Paris meeting Fitzgerald, Stein, Mannerists such as Cranach, Brueghel, and attention to the major authors who reinvented Picasso; Salinger as Holden Caulfield, preppy Bosch. Students investigate the complex sym- the genre. At the end of the semester, students sage; Freud on himself on psychoanalysis; bolism of northern iconography, the new look at developments in contemporary fiction: Roth’s Portnoy complaining in the throes of techniques developed, and the historical back- the anti-story, the new wave, the surreal, the lust; Proust’s great theories of love, death, and ground of a style often called minimal, the funny, the mythic. art; Van Gogh as artist and moral thinker in his Northern Realism. Literature letters; Greene’s portrait of a woman’s obses- Humanities/Art History sion with love and God; André Malraux’s HU 217 Lazarus; Tillie Olsen’s struggles to write as a HU 242 B African-American Literature housewife; and others. Readings from letters Italian Renaissance Art 3 credits, 3 hours and diaries by the authors of the books. 3 credits, 3 hours Examines the role of the African-American Literature The major figures in the artistic centers of writer in American society through writers Italy from Giotto in the 14th century to the like Langston Hughes, Richard Wright, Ralph HU 230 A/B early work of Michelangelo at the end of the Ellison, James Baldwin, Toni Morrison, French II 15th century. The architects, sculptors, and Imamu Baraka, and Gwendolyn Brooks, who 3 credits, 3 hours painters of Florence are the focus, but artists have made major contributions to American Open to students who have completed French in Venice, Padua, and Rome are discussed as literature and culture. I or have had two or more years of high school well. Literature French. Modern French short stories and a Humanities/Art History novel, La Princesse de Cleves,by the 18th HU 218 century writer Mme. de la Fayette. HU 243 Superheroes Humanities Baroque Art 3 credits, 3 hours 3 credits, 3 hours Examines the most important heroes of pop- HU 232 A/B The works of the major European artists of the ular culture in the Middle Ages–Beowulf, Italian II 17th century: Bernini, Rubens, Velásquez, Roland, Siegfried, and King Arthur. What do 3 credits, 3 hours Rembrandt, Poussin, and Vermeer. Through these heroes and the epics in which they Open to students who have completed Italian I the genres of landscape, still life, and portrai- appear reveal about their culture? How do they or have had two or more years of high ture, all mature by the 17th century; other compare to modern popular superheroes? school Italian. artists such as Hobbema, Ruisdael, Zurbarán, Literature Humanities and Hals are also studied. Humanities/Art History HU 219 HU 240 Children’s Literature Ancient Art HU 244 3 credits, 3 hours 3 credits, 3 hours Mythology in Oriental Art The anonymous oral traditions of world An investigation of the art and architecture of 3 credits, 3 hours literature, which continue to nurture the the ancient world, concentrating on the clas- An introduction to the symbolism of imagination and sense of identity of children sical art of Greece and Rome, but also mythology in Oriental art. The course investi- today, and the modern tradition of children’s considering the arts of Mesopotamia and gates myths in the major Oriental cultures and literature. The course focuses on children’s lit- Egypt. their basic patterns, functions, and meanings. erature as an introduction to the principles and Humanities/Art History Humanities/Art History forms of art and to the role of the imagination in child development. HU 241 HU 245 A/B Literature Medieval Art History of Western Architecture I, II 3 credits, 3 hours 3 credits, 3 hours The sculpture, architecture, painting, and dec- In the first semester, this course surveys the orative arts of Europe from the early Christian development of Western architecture from the period in the third century A.D. to the proto- ancient world of the Greeks and the Romans Renaissance in Italy in the 14th century, through the Renaissance to the end of the 19th observing the emergence and flowering of a century. In the second semester, emphasis is northern European mystical Christian vision on the 20th century. This course should be separate from the monumental classical vision taken in sequence; the second semester of Greece and Rome. assumes knowledge of the first semester’s Humanities/Art History work. Humanities/Art History

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 155 HU 246 HU 250 HU 259 19th Century Art History of Sculpture Listening to Music 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Painting and sculpture made in the modern A chronological survey of three-dimensional Examines the unique role assigned to the lis- age in the West are examined in an interna- art produced from the end of the 18th century tener of music and addresses the special skills tional context. Emphasis is on the works of to the present day. Works by major artists from expected of an informed audience. Ranging the major French, English, German, and Europe and the United States–including between the hows and whys of listening, dis- American artists. The variety of subjects these Auguste Rodin, Pablo Picasso, Alexander cussion introduces students to some of the artists explored and the new styles they devel- Calder, David Smith, Louise Nevelson, and strategies composers use to organize their oped as they responded to the world of the Christo–will be discussed and compared to the thoughts, including concepts of variation, 19th century will be among the topics works of development, and non-verbal narration. discussed. earlier artists. Humanities Humanities/Art History Discipline History/Humanities/Art History HU 260 A HU 248A HU 251 Human Origins I Film History History of Industrial Design 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An anthropological perspective on the evolu- A survey of the history of film. Categories of A survey of industrial design in the West, tion, biology, ecology, and behavior of films to be screened include: early film forms paying particular attention to developments in nonhuman primates from protosimians to great (Lumiere, Griffith, and De Mille); Dada and the 20th century. apes. Students are introduced to the principles Surrealist influences (Leger, Bunuel, Marx Discipline History/Humanities/Art History of evolution and adaptive trends. The course Brothers, and Resnais); the impact of focuses on the successful terrestrial species of Constructivism and the Machine Aesthetic HU 253 Old World monkeys and on the apes—the (Eisenstein, Vertov, and Chaplin); German History of Crafts gibbon, orangutan, gorilla, and chimpanzee. Expressionist influence on Hollywood (Ford, 3 credits, 3 hours Comparisons are made among nonhuman pri- Welles, Wyler, and Hitchcock); modern A survey of the principal movements and ten- mates and our own species regarding diet, European and American films (Bergman, dencies in Western crafts since the middle of locomotion, tool use and manufacture, modes Godard, Kubrick, and Altman); and avant- the 19th century. Main topics include the arts of communication, social behavior and social garde art influences on new American cinema and crafts movement; art nouveau; the systems, motherhood and child care, aggres- (Deren and Brakhage). Bauhaus; the interrelationships among fine sion, “cultural” behavior, and recent trends in Humanities/Art History arts, crafts, and design; and postmodernism. nonhuman primate behavior studies. Films are Required of all Crafts majors. an important part of the course. HU 248B Discipline History/Humanities/Art History Social Science Issues in National Cinema 3 credits, 3 hours HU 254 HU 260 B The course selects films from modern History of Communication Design Human Origins II European and emerging national cultures that 3 credits, 3 hours 3 credits, 3 hours demonstrate both their interactions with post- A survey of two-dimensional design in the An introduction to human biological and cul- modern politics, theory and culture, and the West, with particular attention to develop- tural evolution, a survey of the major development of an alternative discourse to ments in the 20th century. evolutionary stages in hominid evolution, an Hollywood commercial filmmaking. Films are Required of all Graphic Design majors. introduction to Paleolithic technologies, and a selected from the following: 1920s Soviet Discipline History/Humanities/Art History comparison of contemporary Stone Age soci- cinema; Italian Neo-Realism; anthropological eties with Paleolithic populations. documentaries; French New Wave; HU 255 Social Science postwar/holocaustal cinema in Europe; other History of Photography national cinemas (Spain, Hungary, Japan, 3 credits, 3 hours HU 261 etc.); anti-colonialist struggles in films from Provides an introduction to the significant Observing Humans India, Egypt, Argentina, Chile, Brazil, photographers and their work in the history of 3 credits, 3 hours Senegal, and Cuba; and new women film- the medium; describes technical developments This course presents several different social makers. and their impact; discusses the major visual science frameworks and seeks to uncover what Humanities/Art History and aesthetic trends in the development of can be learned about human behavior by photography and their relationship to art in people watching. Students will choose places general; describes the larger social context in for brief weekly observation and use their own which photography has developed. art skills to document what they see. Required of all Photography majors. Social Science Discipline History/Humanities

156 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 HU 262 HU 266 A HU 270 History of China History of the Classical World Introduction to Aesthetics 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours The time span is from the earliest days to the The history of ancient civilizations in the Near An introduction to the philosophy of art. After present, with special emphasis on the modern East and Europe. Egyptian, Greek, and Roman a brief examination of analytic, philosophical period and relations with the United States history, religion, philosophy, and culture. methods and the history of aesthetics, a con- and other Western powers. Intellectual and Readings from selected ancient texts and sideration of some of the fundamental cultural developments will take precedence slides of art works illuminate the culture of problems in aesthetics, such as the intention of over political and economic history. these civilizations and provide links with the the artist, the physical object/aesthetic object Social Science present world. distinction, and the nature and comparison of Social Science different kinds of media. The relationship HU 262 B between language and art is central to the History of Japan HU 266 B course. 3 credits, 3 hours History of Medieval Europe Humanities The time span is from the earliest days to the 3 credits, 3 hours present, with special emphasis on the modern The history of medieval Europe from the HU 272 period and relations with the United States Germanic settlements to the establishment of Money Matters and other Western powers. Intellectual and Christianity and the feudal social expansion of 3 credits, 3 hours cultural developments will take precedence the late Middle Ages are important topics for Explores issues in economics and business by over political and economic history. the course. A wide range of readings and the working out from the roles and interests of Social Science use of examples of medieval art promote a individual agents and groups. We will look at broad interpretation of this period. economic dynamics in artistic and cultural HU 263 Social Science work in the present, and at different historical The Culture of the Italian moments, to explore further the nature of Renaissance HU 267 these relationships and their meanings. 3 credits, 3 hours Introduction to Cultural Students are exposed to economic and busi- A comprehensive study of the political and Anthropology ness discourse, provided with a broad and social conditions in Italy from the end of the 3 credits, 3 hours intensive understanding of economic and busi- 14th until the middle of the 16th centuries that The nature of and variation in human cultures ness language and logic, given experience in led to the artistic and philosophical flowering and the various theories (historical, functional, the application of these concepts to issues in known as the Renaissance. Not only will the and symbolic) that explain them. This survey their field of interest, and provided with a contributions of the larger states of Milan, of culture in both Western and non-Western foundation for thinking through the economic Venice, and Florence be explored, but also the societies considers a number of special topics and ethical dimensions of their work. petty princely courts of Mantua, Ferrara, and such as language and society; cultural identity Social Science Urbino. Reading Machiavelli’s The Prince and and the arts; gender, marriage and family; and portions of Catiglione’s The Courtier is an social ranking and power relations. The HU 274 essential part of the course. impact of globalization, tourism, and cultural Introduction to Philosophy Social Science change are also considered. 3 credits, 3 hours Social Science A course specifically tailored to students with HU 264 no experience in reading philosophy. Several Modern American History HU 268 basic issues are considered, including 3 credits, 3 hours Introduction to the Bible freedom, God, morality, death, mind, appear- A study of contemporary developments, 3 credits, 3 hours ance, and reality. In addition to brief readings values, and issues as a product of 20th century The main themes of the Bible are explored of primary sources, readings of discussions of phenomena. The course explores the dramatic from a modern, critical, nondenominational these issues along with innovative fiction changes that have occurred in American point of view. No knowledge of the Bible is illustrating salient points. society over the last 50 years. assumed. Using historical and literary Humanities Social Science analysis, continuities as well as differences between the Hebrew and Christian testaments HU 281 HU 265 are examined. Dynamic Anatomy Introduction to Folklore Social Science 3 credits, 3 hours 3 credits, 3 hours The structure of the body as it relates to form Introduces folklore genres and the history of (size, shape, and proportion) and support (pos- folklore study. Sacred objects, fairy tales, ture, position, and movement). In-depth songs, parodies, and legends will be analyzed exploration of the location, orientation, and and presented in class. actions of major muscle groups, joints, and Social Science bones, and how they differ by gender through the life cycle. Science/Math

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 157 HU 282 A HU 285 B HU 292 Fundamentals of College Physical Sciences Introduction to World Religions Mathematics 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An investigation of astronomy, geology, and An exploration of world religious traditions An introduction to the fundamental mathemat- other physical sciences. Topics include the originating in Africa, the Americas, China, ical principles and operations used in origin of the universe and solar system, the India, Japan, and the Middle East. Religions undergraduate courses in the physical and nature of matter and energy, and the parame- are studied in their historical and cultural con- social sciences. Topics include sets, logic, ters of physical science. Provides a text, including their development in various probability, statistics, number theory, algebra, background for understanding the impact of times and places, and their beliefs regarding and geometry. science on human values. the cosmos, society, the self, and good and Science/Math Science/Math evil. Social Science HU 282 B HU 286 Calculus Science and Pseudoscience HU 293 3 credits, 3 hours 3 credits, 3 hours Dance & Expressive Culture An introduction to calculus emphasizing the The methods and issues of contemporary sci- 3 credits, 3 hours applications of differential and integral cal- ence. Explores how scientific information is Dance is woven into the mythology, theater, culus to the physical and social sciences. used in society through an examination of sci- music, poetry, and literature of many cultures. Prerequisite: HU 282 A, equivalent college-level entific, near-scientific, and pseudoscientific The course will consider dance as it has influ- mathematics, or pre-college advanced algebra and claims, including strange creatures like enced and has been influenced by these forms geometry. Bigfoot and the Loch Ness monster, miracle of creative expression in the Western world. Science/Math cures for diseases, and paranormal phe- Humanities nomena. The question of how funding might HU 283 affect scientific research is also examined. HU 310 Probability Science/Math The Stories of Chekhov 3 credits, 3 hours 3 credits, 3 hours This class introduces some of the most funda- HU 288 The readings include most of Chekhov’s best mental ideas in classical probability. Polling Introduction to Brain, Mind, stories, excerpts from his letters, some critical techniques, casino gambling, weather fore- and Behavior interpretations, and supplementary material on casting, and lotteries are a few areas in which 3 credits, 3 hours family life. Consideration of the literary the principles of probability directly influence This course is an introduction to the organiza- merits of his stories and exploration of what our lives. Modern science depends on proba- tion of the brain and nervous system and to goes on between the people in them. bility to build mathematical descriptions of the their interactions with other body systems that Literature real world. This course explores the concepts produce observable behavior. Topics include of probability in an intuitive and accessible brain structure and function, neurological HU 311 way, understandable to beginners. Topics changes over the life cycle, and the effects of Greek Drama include sample spaces, counting, conditional malfunctions. Students will learn about spe- 3 credits, 3 hours probability, and the concept of independence, cific brain structures and how they contribute Plays by Aeschylus, Sophocles, Euripides, and game, theory, random variables, and the law of to or produce specific behavioral characteris- Aristophanes are examined to understand their large numbers. tics. We will explore learning, memory, the own integrity as works of art and to develop Science/Math senses, and sex differences in the brain, as an appreciation of the extraordinary achieve- well as other current topics of interest. ment of Greek drama. HU 285 A Science/Math Literature Life Sciences 3 credits, 3 hours HU 289 HU 313 Life forms in the context of current adapta- Contemporary Issues in Life Poetry Writing Workshop tions and evolutionary history. Special Sciences 3 credits, 3 hours emphasis is placed on an exploration of 3 credits, 3 hours Students’ poems are discussed, criticized, evolutionary relationships, ecological special- Each semester this course explores one area of revised, and improved. Principles governing ization, and the dynamic relationships of current research in the life sciences by the decision to change a poem in various organisms in an integrated ecosystem. focusing on three significant issues in the cur- ways, the study of poems by American and Science/Math rent scientific literature. Students participate English poets, the reading of some criticism, in a series of semi-independent inquiry activi- and concentration on the basic principles of ties. For each research issue, student teams craft are all included. Theories involve sound, complete a “challenge” that demonstrates their content, meaning, and purpose of student ability to understand, collect, interpret, and poems and of poetry in general. The poet’s apply appropriate information in order to pro- sense of an audience also figures in the pose solutions and to convince classmates of discussion. the success of their approaches. Literature/Humanities Science /Math

158 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 HU 314 HU 318 HU 325 Literature and Film Literature of the Roman Empire Fiction Writing 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours This course explores different subjects After a glance at Greek influences, the course A workshop course on writing short fiction. through the arts of literature and film. Among will focus on the literature of classical Rome. Students will study the elements of creative the topics treated have been images of Readings from epic, drama, and lyric forms, writing, experiment with several forms, Vietnam, the thriller, and science fiction. with an emphasis on the interaction between develop a clear voice, and learn how to criti- Literature those classical forms and the culture that cize the work of others usefully. The goal is to produced them. produce a portfolio of finished pieces. HU 315 A Literature Humanities Modern Drama 3 credits, 3 hours HU 320 A HU 326 A study of the modern theater from the end of Western Literary Masterpieces I Contemporary Arts in America the 19th century to the present. Students will 3 credits, 3 hours 3 credits, 3 hours read some of the world’s best playwrights: Works from antiquity through the Middle A continuation of the two-semester Ibsen, Strindberg, Chekhov, Shaw, Pirandello, Ages that form the foundation of Western lit- Modernism sequence, this course focuses pri- Lorca, Brecht, and Beckett. Theater trips are erature. Focuses on the creation of character, marily on contemporary literature (mainly part of the experience of this course. the structure and form of the works, and the plays and novels) and contemporary visual art Literature perspectives and values they reveal. Examines (mainly painting and sculpture), with occa- the questions asked by different cultures and sional forays into music. Investigation, by HU 315 B how human potential, fate, and reality are studying primary sources, of the way various Contemporary Drama defined. works of art express the contemporary aes- 3 credits, 3 hours Literature thetic in America. A study of the experimental developments in Literature today’s theater, both on Broadway and off, HU 320 B from Waiting for Godot to the present Western Literary Masterpieces II HU 342 moment. Students will read some of the best 3 credits, 3 hours Arts of China known playwrights of our time: Genet, Works from the Renaissance through the 3 credits, 3 hours Beckett, Ionesco, Albee, Pinter, and Shepard, Neoclassical periods that form the foundation Painting, sculpture, architecture, and decora- as well as some not so well known. Theater of Western literature. Focuses on the creation tive arts from the Neolithic period (16th trips are part of the experience of this course. of character, on structure and form, but also on century B.C.) to the Ching dynasty (18th cen- Literature tone (humor, parody, satire, and irony) and the tury A.D.). Special emphasis on Shang bronze perspectives and the values the works reveal. ware, Han and T’ang sculpture, and Sung and HU 316 Literature Ching pottery. The various styles are related to American Playwrights their historical, religious, and social back- 3 credits, 3 hours HU 322 ground, with particular attention paid to the A study of the American theater in the past 50 Scriptwriting impact of Confucianism, Taoism, and years, looking at the works of such authors as 3 credits, 3 hours Buddhism on Chinese art and architecture. O’Neill, Miller, Williams, Albee, and Shepard. This workshop course introduces students to From time to time, Eastern and Western cul- Theater trips as well as showings of filmed the discipline of writing for theater and film. tures will be compared to understand better plays are part of this course. Focusing on the elements necessary for the the similarities and differences between them. Literature creation of producable scripts, the student Humanities/Art History develops practical skills leading to the cre- HU 317 A ation of a short work for stage or screen by the HU 343 Romanticism end of the semester. Art of Venice 3 credits, 3 hours Humanities 3 credits, 3 hours A study of the Romantic movement in An emphasis on light, an apparent spontaneity England, including the major poets (Blake, HU 323 of organization, and a delight in richness and Wordsworth, Coleridge, Byron, Shelley, and Arts Criticism sensuality guided the development of painting Keats), several novelists (including Bronte’s 3 credits, 3 hours in Venice from Bellini through Tiepolo. The Wuthering Heights and Mary Shelley’s A writing course designed to promote under- course presents Venetian painting from the Frankenstein), and samplings from letters and standing and interpretation of the arts across a mid-15th to the later 18th century, pausing to essays. Some of the dominant Romantic multidisciplinary spectrum and to provide stu- focus especially on the art of Titian, Veronese, themes–the artist as outcast, revolution, man’s dents with the basic tools of critical analysis. and Tintoretto, and themes peculiar to relation to nature–will be addressed. Group discussion and selected Venetian art: the female figure poesia; Literature readings. Venetian light and landscape; portraiture; Humanities courtiers, humanists, and beauties; the confra- ternity narratives; and the fresco decoration of the Venetian villas. Humanities/Art History

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 159 HU 344 HU 349 HU 354 Avant-Garde Cinema American Film Genres Women Artists 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours An examination of the arts of experimental Considers various film genres and styles in A chronological survey of professional female film and video. The exploration of mental American cinema, such as comedy, film noir, painters and sculptors active in Western states, visual metaphors, process, and non-tra- the Western, the musical, and the American Europe and the United States, from the 16th ditional forms and structures are central to the independent film. century to the present. The role played by course. In addition, the focus is on the co-exis- Humanities/Art History women artists in earlier ages, other nations, tence of avant-garde film and video with their and different media will also be examined. commercial counterparts. Also examines film HU 351 Humanities/Art History and video language in relation to other art Electronic Video languages. 3 credits, 3 hours HU 355 Humanities/Art History The history of video as an art form from the Dada and Surrealism early 1960s to the present. Basic film concepts 3 credits, 3 hours HU 345 are reviewed in their application to emerging The history of the post-World War I antira- Modern Architecture new electronic formats. Video art is examined tional movements of dada and surrealism. 3 credits, 3 hours in all of its aspects–as computer art, installa- Since these were literary and political as well The course investigates modern architecture, tion, and sculpture. The survey explores the as artistic movements, attention is given to its theoretical premises, and the social context variety of styles, genres, and forms that consti- texts by such authors as Artaud, Breton, that generated it. Students will also inquire tute the distinctive achievement of American Freud, Jarry, Rimbaud, and Tzara, as well as into modern architecture's legacy: postmodern video art. The videotapes and documentation to works of visual art. architecture. of artists’ projects are examined and placed Humanities/Art History Humanities/Art History within the social and cultural context in which they were produced. The market forces and HU 357 HU 346 the political/psychological systems shaping Modern Art Folk Art and Architecture the audience and creating an increasingly 3 credits, 3 hours 3 credits, 3 hours problematic role for artists are important con- At the beginning of the 20th century, artists A survey of American vernacular art and siderations. responded to new technological forces and the architecture, with special attention to the Humanities pressures of mass culture in styles such as eastern United States. Comparisons will be cubism, constructivism, and surrealism– styles made to the ethnic traditions from which this HU 353 A that are still being explored by our contempo- architecture springs, principally English and Impressionism raries. The course surveys the period German. Social considerations, including 3 credits, 3 hours 1880-1980, emphasizing the continuity of the those of gender, occupation, and religion, will The 19th century style known as modern artist’s situation and role. be discussed. Impressionism is often considered to be the Humanities/Art History Humanities/Art History foundation of European modern art. The course chronologically investigates HU 359 HU 347 Impressionism in its historical and cultural Politics and the Media Arts of Africa context. The technical and conceptual ideas 3 credits, 3 hours 3 credits, 3 hours that underlie its development will also This course analyzes how political and social Artistic, religious, sociological, and geo- be considered. forces interact with the American community graphic aspects of societies in sub-Saharan Humanities/Art History and how that interaction affects government Africa are studied in order to establish conti- structure and policy. Factors such as popula- nuity as well as distinction between their art HU 353 B tion profiles, “suburbanites,” elite groups, forms. Black American folk art, an extension Post-Impressionism public opinion, party organization, elections, and transformation of African art, is analyzed. 3 credits, 3 hours and reform movements are studied. Humanities/Art History Post-Impressionism is chronologically investi- Social Science gated with respect to its historical, cultural, HU 348 and aesthetic context. The technical and HU 360 A American Art to 1945 philosophical concepts that underlie Post- Renaissance and Reformation 3 credits, 3 hours Impressionism’s development are also 3 credits, 3 hours A survey of American art, architecture, and explored. The intellectual and cultural explosion that design, emphasizing the 19th and 20th cen- Humanities/Art History heralded the modern era in Western civiliza- turies. The material is divided into a series of tion. Political, economic, philosophical, sections or themes and is considered in rela- religious, and cultural developments. tion to tradition. Each section or theme is Social Science studied through the work of the major artists who best represent it. Humanities/Art History

160 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 HU 360 B HU 364 HU 369 Age of Enlightenment Sociology of Art Cultural Ecology 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours The dramatic intellectual revolution of the An examination of the relationships that exist An investigation, from the perspective of eco- Age of Science and the applications of the between art and society. Focus on the social logical anthropology, of the various cultural revolution to every province of human experi- influences that shape the creation and recep- adaptations found in different ecosystems ence. The Enlightenment and the French tion of artistic works. Topics include the social such as deserts, grasslands, circumpolar Revolution, which are also part of the trans- role of the artist; art as a socially organized regions, tropical and temperate forests, and formation of Europe, are studied from the form of work; the social institutions of artistic high-altitude and urban areas. These adapta- perspective of their consequences for the production, transmission, and audience recep- tions include hunting and gathering, fishing, modern world. tion; and the understanding of art in terms of and agriculture. In these examples various atti- Social Science its social context. tudes toward the environment, the impact of Social Science population growth, and the effect of con- HU 361 flicting technologies on resources are Islam: Religion and Culture HU 365 A/B considered. 3 credits, 3 hours History and Culture of Latin America Social Science Examines Islamic culture as it is refracted in 3 credits, 3 hours various religious and literary texts by Muslims The history and culture of Latin America, HU 370 from Arabia, Iran (Persia), and India as well as including indigenous as well as European cul- Greek Philosophy North America. Begins with discussions of the tural sources. National distinctions and 3 credits, 3 hours centrality of prophecy and scripture in Islam, the origins of modern society in the area After examining fragments from pre-Socratic followed by a perusal of Islamic theology and will be developed. philosophers, we consider the writings of mysticism, and ends with a sampling of pri- Social Science Plato, including three or four dialogues and marily literary prose and poetry pieces that The Republic. Selections from Aristotle’s writ- provide insights into the multifarious facets of HU 366 ings on physics, the soul, and aesthetics. Islamic civilization. The City Humanities Social Science 3 credits, 3 hours A study of the city in history, the forces that HU 371 HU 362 A/B shaped its development, and the impact of the The American Suburbs American Civilization city on history. The American city from the 3 credits, 3 hours 3 credits, 3 hours 17th century to the present is used as the Increasingly, the United States has become a An in-depth study of the origins of American model for this study. suburban nation, with more and more of its society with an emphasis on the particular Social Science people living and working in the suburbs. This political, social, and cultural patterns that course will examine how suburbs began in the shaped the course of American development. HU 367 late 19th century, how they have evolved, and The first semester surveys the process of set- Eastern Religions what they are like today. Students will do tlement, colonial societies, independence, the 3 credits, 3 hours fieldwork. growth of the egalitarian spirit, and the Civil An exploration of Hinduism, Buddhism, Social Science War. The second semester studies American Confucianism, Taoism, and Shintoism. Each is society in the modern period. From the per- studied in its historical and cultural context, HU 372 spective of today, the course examines the including its development into various forms Continental Philosophy and legacy of Reconstruction, the Industrial over the years and in different places, and its Existentialism Revolution, the Reform Movements, the beliefs regarding views of the cosmos, society, 3 credits, 3 hours World Wars, and the Cold War. The factors in the self, and good and evil. In addition to a Examined as a Western alternative to the ana- the past that have shaped contemporary text, students read from the literature of each lytic method. Following some historical society are stressed. religion. background, the work of a major existentialist Social Science Social Science philosopher, such as Martin Heidegger, is explored. HU 363 HU 368 Humanities Modern Culture Sociology of Politics 3 credits, 3 hours 3 credits, 3 hours HU 373 This course examines the nature of expressive The interaction of political, social, economic, Ethics culture (media and art) and its role in contem- technological, and cultural forces in American 3 credits, 3 hours porary society. A key question is why we use society, with their resultant impact on the The history of ethics and the fundamental eth- expressive culture and how it affects us. political system. A brief introduction to polit- ical problems that have concerned Topics include high versus popular culture; ical science is incorporated early in the philosophers for the past 2,500 years. The relations between culture, politics and com- semester. Factors such as population profiles, study begins with Plato and Aristotle and merce; and the place of censorship in a liberal “suburbanites,” elite groups, party organiza- extends to contemporary analytic philosophy, society. tion, elections, and reform movements are phenomenology, and existentialism. Problems Social Science considered. include the “is/ought” distinction, the ultimate Social Science objective of life, religious issues, human rights, justice, and welfare. Humanities

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 161 HU 374 HU 382 HU 386 Personality and Creativity Social Psychology Human Genetics 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Through readings of works of major theorists An introduction to the field of social psy- Explores the fundamentals of genetics through on the nature of personality and creativity, the chology and an examination of contemporary the study of our own species, Homo sapiens. course poses two major questions: “What do life in America through its social institutions: Introduces students to the study of inheritance major theorists have to say about the human education, criminal justice, media, commu- and how molecular, physiological, environ- personality?” and “What do major theorists nity, and family, and the social problems that mental, and behavioral mechanisms affect the have to say about what it means to be a cre- have emerged since the 1940s. Significant cur- measurable characteristics of humans around ative person?” There are a number of ways of rent events that illuminate these social the world. Topics include genetic diseases and answering these questions and it is not the problems are incorporated into the course- unusual physical characteristics among others. purpose of the course to choose the “best” work. Using local resources, students engage in answer, but rather, to put the student in a Prerequisite: HU 181 A or B. problem-solving activities in comparative better position to make his/her own decisions. Social Science biology. Social Science Science/Math HU 383 HU 377 Personality and Adjustment HU 388 Critical Theory and the Arts 3 credits, 3 hours Perception 3 credits, 3 hours The study of personality and the patterns of 3 credits, 3 hours Since the 1960s, the arts have been influenced behavior and predispositions that determine The structure and function of the senses of by “critical theory,” a term loosely designating how a person will perceive, think, feel, and vision, audition, olfaction, gustation, touch, new developments in linguistics, philosophy, act. The inner life of men and women, the temperature, kinesthesis, time, and the brain and humanistic study. Unlike traditional inter- quality of their character, their adjustment to and nervous system are considered as they ests in a work of art’s formal properties, their social milieu, and their potentialities for relate to perception. antecedents, or author, critical theory investi- self-fulfillment are all explored. Special atten- Science/Math gates the artwork as a text: an interlocking tion is given to adjustment problems of artists series of messages, themes, and codes. in work and in love. HU 389 Investigating those themes, critical theory sees Social Science Evolution in Modern Perspective in art texts everything from messages about 3 credits, 3 hours class, race, and gender to encoded forms of HU 384 Evolution is the unifying theoretical founda- power and desire. The class will consider the Abnormal Psychology tion of all the life sciences. This course reception of these critical ideas by artists 3 credits, 3 hours explores the mechanisms that produce evolu- throughout the ’70s, ’80s, and ’90s. Human development and abnormal psy- tion and their meaning for our current Social Science/Humanities chology: ego defenses, emotional disorders, knowledge in biology, conservation, medicine, therapeutic theories, and treatment techniques. agriculture, and related sciences. Students will HU 381 Clinical diagnosis and classification of mental also consider the effect(s) that society’s Urban Wildlife disorders. awareness of evolution has had on social insti- 3 credits, 3 hours Prerequisite: HU 181 A or B. tutions such as law, literature, politics, and As humans modify natural habitats and Social Science education. expand our population, we increasingly Science/Math encounter wild animals in “our” environ- HU 385 ments. In some cases, these encounters result Concepts of Modern Physics HU 390 from destruction of natural habitats for these 3 credits, 3 hours Mass Media and the Arts animals; in other cases, we have created A survey of important concepts in contempo- 3 credits, 3 hours “greenspaces” that actively attract other rary physics. Students participate in A wide range of media are examined: televi- species. This course examines the ways in problem-based exploration of a particular sion (sit-coms and reality TV), movies which humans and other animals interact in theme such as communication, predictions, (comedies and adventure), advertising (print shared and contiguous environments based on shelter, medicine, and sports. and TV), and news (local and national tele- semi-independent field studies carried out by Science/Math casts). An underlying assumption in this students on selected species. After an intro- course is that a key aspect of all media is their duction to common species and a short period focus on the production of meaning through of directed study, teams of students will plan, language, through images, and through tech- carry out, and analyze one short-term (four- nology itself. The media is investigated week) study on one species that inhabits urban through the eyes of contemporary theory in Philadelphia. order to test the theory’s usefulness as a tool in Science/Math understanding media. Students develop a variety of critical tools to interpret mass media. Social Science

162 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 HU 392 HU 411 HU 414 B American Musical Theater Shakespeare 19th Century Novel 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Explores aspects and accomplishments of the The dramatic works of the supreme writer of Study of some of the most admired, best-loved American musical theater from the ’20s to the the English Renaissance–Shakespeare. A books of the world, written in the heyday of ’80s. Emphasizes the social, political, and selection of his comedies, histories, tragedies, the novel, the 19th century: Crime and psychological elements ranging from and romances are read. Focuses on the plays Punishment by Dostoevsky, Madame Bovary Gershwin to Sondheim, to offer entertainment not only as literary accomplishments but also by Flaubert, Wuthering Heights by Bronte, with a serious message. as theatrical performances existing in three- Great Expectations by Dickens, Portrait of a Not open to students who have received credit dimensional space. Concerned both with the Lady by James. This is a course for people for TH 312 A. parameters of the original Renaissance stage who love to read. Humanities and with modern translations and transforma- Literature tions of the plays. HU 393 Literature HU 415 A Afro-American Culture Modern Poetry 3 credits, 3 hours HU 412 3 credits, 3 hours A survey of some of the most important Afro- Detective Film and Fiction Reading and interpreting major American and American contributions to American culture, 3 credits, 3 hours European poets of the late 19th and early 20th with special attention to the 20th century and An examination of the genre known as hard- centuries, such as Yeats, Eliot, Williams, to the arts. Among those whose work will be boiled detective fiction as it developed in Stevens, Rilke, and Montale. Attention is discussed are W. E. B. DuBois, Duke literature and then was extended by feature given to understanding each poet’s style and Ellington, Langston Hughes, and Paul films. Among the authors to be considered are its evolution. Aesthetic theory and the function Robeson. Dashiell Hammett, Raymond Chandler, and of poetry as a social force in the modern world Social Science/Humanities Ross MacDonald; among the films are The are also discussed. Maltese Falcon, The Big Sleep, and The Long Literature HU 394 Goodbye. Play, Performance, and Literature Literature HU 415 B 3 credits, 3 hours Contemporary Poetry The focus of this course is the relationship HU 413 3 credits, 3 hours between theories of play and performance and Literature and Film: From Text to Beginning with the Beats, the major schools culture and the arts. The course draws upon Screen of contemporary poetic practice such as the current thought in anthropology, sociology, art 3 credits, 3 hours deep image, language/action, confessional criticism, and literary/dramatic performance Explores the conceptual and technical leaps poetry, new formalism, and projectivism are theory (e.g. Barthes, Brecht, Cage, and between the written text and its transformation addressed. The effects of feminism, sexual others). to a cinematic text on the screen. Students orientation, and racial identity on contempo- Humanities examine what happens to plot, characteriza- rary poetry are also examined. tion, and bound and free description when a Literature HU 410 narrative text is converted to an audiovisual The Uncanny presentation. In certain examples, the transfor- HU 416 A 3 credits, 3 hours mation of narrative structure is traced from the Contemporary Novel Treats the theme of the uncanny as it has been novel to the screenplay to the finished film. 3 credits, 3 hours represented principally in literature and the Students gain insights into the relationships A range of contemporary novels from writers visual arts, from Poe and Hoffmann down to between written and filmed dialogue, between who have made an impact since the 1970s. Kafka and recent cinema. The point of depar- written description and cinematic mise-en- Issues of form and style, the relationship of ture is Freud’s essay on the subject. scène, between the novel’s omniscient narrator the contemporary novel with the past, and the Literature/Humanities and the film’s voice-over. nature of narrative are addressed. Literature Literature HU 411 A Renaissance Literature HU 414 A 3 credits, 3 hours The Big, Fat, Famous Novel Works by Boccaccio, Machiavelli, Erasmus, 3 credits, 3 hours Rabelais, Cervantes, Jonson, Calderón, and We will read three of the world’s best and others are read to explore the remarkable con- most important novels: Tolstoy’s War and tribution of these writers and to develop an Peace, Melville’s Moby Dick, and Joyce’s understanding and appreciation of the Ulysses. Each provides great pleasure to the Renaissance. serious reader and much material for intense Literature discussion. Each novel has the equivalent of its own little course, about one month long. Literature

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 163 HU 417 HU 422 HU 442 Art of Song Lyric American Politics and Culture: Abstract Expressionism 3 credits, 3 hours 1945-1975 3 credits, 3 hours A study of how contemporary song lyrics 3 credits, 3 hours Abstract Expressionism was the most impor- developed from the tradition of lyric poetry The interaction of politics and culture from tant movement in post–World War II and folk ballads. Line-by-line analysis of 1945 until 1975. Course materials include fic- American art. This course surveys its origins, famous lyric poems from literary history will tion, film, poetry, and journalism. accomplishments, and decline. be conducted. Popular songs of the past 50 Social Science/Literature Humanities/Art History years are used in the discussion of the prob- lems and challenges of putting words to HU 423 HU 448 A music, with special attention paid to Bob Literature in Opera of the 20th American Art Since 1945 Dylan. Other artists include Billie Holiday, Century 3 credits, 3 hours Simon and Garfunkel, the Mamas and the 3 credits, 3 hours In 1945, World War II ended and the focus of Papas, the Rolling Stones, Led Zeppelin, and A study of 20th century opera’s treatment of modern art shifted from Paris to New York Stevie Wonder. There is a substantial writing major literature. City. The course begins with Abstract requirement: students may elect to study Literature Expressionism; studies other major American poetry, librettos, or song lyrics, or to write styles, such as pop art and minimalism; and original song lyrics of their own. HU 424 concludes with postmodernist developments Literature Latin American Literature such as performance and decoration by artists. 3 credits, 3 hours Humanities/Art History HU 419 Latin American literature has had tremendous American Modernists influence not only upon post-war European HU 448 B 3 credits, 3 hours and American literature but upon other arts as European Art Since 1945 In reading and discussing key works of three well. Examines the major exponents of Latin 3 credits, 3 hours American novelists–Fitzgerald, Hemingway, American literature. Traces the origins of style Art since World War II has been dominated by and Faulkner–the student considers to what and shows how Latin Americans began both to the New York market and by the issue of extent and how they reflect such modernist define themselves and to understand their abstraction; in Europe, however, artists con- concerns as style, language, narrative point of landscape through literature. The focus is on tinued to use the human figure as a vehicle for view, myth, psychology, and history. In addi- the writers of the so-called “boom” who man- social and ethical concerns, and in the last 10 tion, students lead discussions of selected aged to assimilate the tradition and be years their engagement has become a model short fiction by Hemingway and Faulkner sup- completely new and original. for younger artists in both Europe and ported by research into criticism conducted at Literature America. The course examines crafts and a major research library, and finish the course book arts as well as fine arts; it also makes use with an essay on one additional major work by HU 428 of plays and films. the writers studied. Portraits of the Artist Humanities/Art History Literature 3 credits, 3 hours Primarily a literature course, with excursions HU 449 HU 420 into the visual and musical arts. Explores the Diaghilev and the Ballet Russes Major Writers ways some major artists investigate, in their 3 credits, 3 hours 3 credits, 3 hours art, what it is to be an artist. Readings/view- Investigates the role of the impresario Serge Focuses on the life and work of a single ings will include: novels by James Joyce, Diaghilev and his Ballet Russes in both important writer. Among the authors who have Virginia Woolf, and Don DeLillo; plays by shaping and echoing the course of the artistic received this intense examination have been Samuel Beckett, Sam Shepard, and Stephen revolution in Paris from 1909-1929. The James Joyce, Samuel Beckett, and Emily Sondheim; plus stories, poems, paintings, and Ballet Russes existed for only 20 years, but in Dickinson. photographs by various artists; and a film by that brief period it transformed ballet into a Literature Federico Fellini. vital art, creating such vanguard pieces as Literature Firebird, Petrouchka, and L’Après-Midi d’un HU 421 Faune, and brought to dance the riches of On the Nature of Poetry and Art HU 440 other arts as it forged partnerships between the 3 credits, 3 hours Wagner and the Ring Cycle most important composers, painters, and poets An exploratory course on the nature of poetry 3 credits, 3 hours of the day. Special emphasis is placed on the and art in which a variety of texts will be A detailed examination of Richard Wagner’s interrelationships between various artists, used—literature, philosophy, art, letters, criti- gigantic four-opera cycle of music dramas, composers, choreographers, and writers. cism. We contend with some major figures, The Ring of the Nibelungen,a crowning Humanities including Wallace Stevens, Rilke, Eliot, achievement of Romanticism. Wagner’s goal Giacometti, Monet, and Van Gogh. of combining all the arts remains a funda- Contemporary artists such as Sidney mental inspiration in film, theater, and Goodman, Warren Rohrer, Ray Metzger, and performance art today. No previous musical Tom Chimes are discussed; some may them- training or knowledge is assumed. selves join in our discussion. Humanities Literature

164 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 HU 450 HU 456 HU 466, HU 467 Arts of India Major Artists Comparative Religion I, II 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Painting, sculpture, and architecture from the Concentrates on the work of a single artist or a A study of the world’s major religions through Indus Valley civilization of the second millen- group of artists. Among the artists who have their historical development, beliefs, sacred nium B.C. through the different periods of come under this intense investigation have literature, and the works of contemporary Buddhist, Hindu, and Islamic dominance to been Donatello, Michelangelo, Rembrandt, writers. The first semester is concerned with the Rajput painting of the 18th century A.D. and Picasso; others may be chosen in the Eastern religions such as Hinduism, The different art styles are related to their his- future. Buddhism, and Taoism; the second semester torical, religious, and social backgrounds. Humanities/Art History deals with Judaism, Christianity, and Islam. Humanities/Art History Social Science HU 462 HU 451 American Social Values HU 474 Arts of Islam 3 credits, 3 hours Contemporary Philosophy 3 credits, 3 hours The moral foundation of American culture. 3 credits, 3 hours Architecture, architectural decoration, callig- Examines the primary American value orien- An examination of some of the problems raphy, book illustration, textile, and ceramic tations–equality and individualism–and occupying today’s philosophers and the strate- art of the Middle Eastern countries from the compares them with those of other societies; gies they have devised in approaching them. beginning of the Islamic era (seventh to 18th considers their relations to religion and polit- Humanities centuries A.D.). A study of the impact of ical ideologies; and assesses their influence on Islamic religion on the character of Islamic art contemporary social issues like moral decline HU 475 and architecture and various regional styles and tolerance of differences. Freud and Mahler within this unified visual mode of expression. Social Science 3 credits, 3 hours From time to time Islamic and Christian cul- This course examines and discusses the theo- tures are compared to understand better their HU 463 ries of Sigmund Freud. All basic areas will be similarities and differences. Middle Eastern Arts and Culture included, beginning with his work on dreams Humanities/Art History 3 credits, 3 hours (c. 1890), aspects of psychoanalysis, the An introduction to the arts and culture of the nature of the person, and his rather pessimistic HU 452 Middle East through the perspective of anthro- attitude regarding the prospects for the sur- Topics in Design pology and art history. Examines design, vival of the human species. The class will also 3 credits, 3 hours symbols, and techniques of Middle Eastern listen to the work of the great Viennese com- Topics vary from aesthetic issues, such as the art, particularly painting, architecture, poser Gustav Mahler. Freud and Mahler were significance of organic form, to social issues, ceramics, glassware, textiles, and metal work. not only contemporaries and soul mates, but such as the influence of design on social These arts are examined in their social, cul- Mahler saw Freud as a therapist, in what has change and the impact of design on the natural tural, and historical context, which includes since become a famous session. environment. The areas of design studied also the role of the artist and craftsman in Middle Humanities vary from tools, furniture, and electronics to Eastern society; the influence of Islam on machinery, transportation, and the design of ritual and symbol; the influence of environ- HU 478 the community. ment on materials and architecture; Aesthetics Seminar Humanities/Art History urban-rural traditions; trade patterns and 3 credits, 3 hours market organization; and diffusion of Advanced philosophic problems related to HU 453 design and materials. works of art and discourse about works of art. Arts of Japan Social Science/Humanities/Art History Students review the analytic method of philo- 3 credits, 3 hours sophic inquiry and discuss the philosophy Painting, sculpture, architecture, and minor arts HU 464 of Wittgenstein and other 20th century of Japan from the Neolithic period to the 18th The Holocaust philosophers. century A.D. The emergence and the develop- 3 credits, 3 hours Humanities ment of a unique national style from an art world The Holocaust is a watershed event in modern dominated by Chinese influence. The develop- history. This traumatic episode left indelible HU 480 ment of painting from the medieval Yamoto-e marks on Western society. It was caused by Psychology of Creativity narrative scrolls through the 15th century. The factors that still exist in the world. Examines 3 credits, 3 hours evolution of various architectural styles from the the history that led to the Holocaust, and The problems involved in defining and great Buddhist temples of the seventh century to attempts to understand what happened and attempting to measure creativity. The course is the majestic castles of the 17th century. In sculp- what meaning it has for us today. developmentally oriented, focusing on rela- ture and pottery, the technical improvements and Social Science tionships between creativity and normal the change of aesthetic values from the Jomon growth and development, and intelligence and and Yayoi phases to the porcelains of the 17th personality. Problems that the artist encoun- century are analyzed. A brief historical and social ters with productivity are explored, as well as background of Japan accompanies the study of the values of society toward creativity and the the various art styles. Special attention is given artist. to the influence of Zen Buddhism on Japanese Prerequisite: HU 181 A or B. culture. Social Science Humanities/Art History

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 165 HU 481 A/B HU 495 Physics Dante in the Modern World Industrial Design 3 credits, 3 hours 3 credits, 3 hours An introductory college physics course. The Dante’s Divine Comedy has been highly influ- ID 113 first semester covers kinematics, dynamics, ential on art, music, and drama from its own Freshman ID energy, structural analysis, and waves; the time to the present. The shaping power of the 1.5 credits, 3 hours second semester concentrates on a study of poet’s journey in his search for answers to This course introduces Foundation students to light, electricity, and magnetism. Both semes- ultimate questions, and his quest for order and the issues surrounding the industrial design ters include frequent references to its reflection in his art continue to inspire reac- profession and highlights its importance in architecture, design, and the fine arts. tions from fellow artists. The course considers informing culture and shaping the way we Competence in algebra is required. a number of works reflecting this influence in live. The fundamental skills required to sup- Science/Math several media. Concentration is on the port the process of concept ideation, design Inferno,but consideration of Paradiso and HU 483 development, and presentation of products and Purgatorio may also be included. furniture are introduced through in-class exer- Theories of Personality Literature cises, lectures by visiting professionals, and 3 credits, 3 hours HU 497 direct involvement in relevant activities within Introduces the study of personality and how the Industrial Design department itself. patterns of behavior, interaction, perception, Women and Sex Roles and response are understood by a broad 3 credits, 3 hours ID 200 A/B variety of theorists. Questions of nature versus An introduction to the history of women and Studio 1: Projects Studio nurture, whether the past impacts the present, to theories of gender. An interdisciplinary 3 credits, 6 hours and what defines mental health are discussed. course combining history, literature, and the Formal introduction to the conceptual and Psychodynamic, cognitive, humanistic, and visual arts. Slide lectures on images of woman practical understanding of design and three- behavioral approaches are compared and in art, myth, and religion, from ancient times dimensional problem-solving processes. This contrasted. to modern. Economic and historical factors studio provides focused fundamental design Prerequisites: HU 181 A and HU 181 B; or affecting how women have lived. Definitions instruction and integrated experiences cov- HU 181 A or B and one of the following: HU 374, of masculinity and femininity. The nature-nur- ering a wide range of subjects including the HU 378, HU 384, HU 480, HU 484, MM 360. ture debate over hormonal differences. tools, processes, and languages of design. Social Science Literature Emphasis is on the development of three- HU 484 HU 999 dimensional model-making skills, problem solving, creative thinking, and their applica- Educational Psychology Independent Study tion to problems of design. 3 credits, 3 hours 1-3 credits, 1-3 hours Prerequisite: Completion of the Foundation pro- An introduction to educational psychology for Independent study considers a particular issue gram or permission of the instructor by potential educators. The basic principles of of interest to the student and one or more fac- portfolio review. learning theory and education are presented ulty that is not covered in a regular course. and critically examined. Using a psychosocial Prior approval by the Director of Liberal Arts ID 214 orientation, the developmental stages of the is required. Materials and Processes Seminar human life cycle are explored, as well as the 3 credits, 3 hours needs of a variety of special populations, e.g. A hands-on seminar course introducing the those with learning disabilities or physical dis- student to the nature of materials used in abilities. Considerable attention is given to industrial products and the various processes increasing awareness and understanding by which they are formed. Films, lectures, and of communication, group dynamics, and field trips familiarize students with traditional organizational behavior. processing of wood, metal, and plastic mate- Social Science rials as well as emerging developments in HU 492 advanced fabrication processes such as injec- tion molding, laser cutting, and Vienna and Berlin: 1890-1925 stereolithography. Emphasis is on the study of 3 credits, 3 hours material characteristics and the appropriate At the beginning of the 20th century, Vienna use of manufacturing methods. The course and Berlin were important centers during one includes an introduction to technical informa- of the richest periods in the cultural and tion, research, design specification writing, artistic history of the Western world. Much of and professional communications. the science and art of this century was given Prerequisite: Completion of the Foundation pro- its focus and thrust by the men of genius gram or permission of the instructor by working in these two cities. In this course, stu- portfolio review. dents examine the works of Einstein, Freud, Mahler, Schoenberg, Wittgenstein, Kafka, and the German Expressionists. An interdiscipli- nary course involving the visual, musical, and literary arts, as well as philosophy. Humanities

166 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 ID 220 A/B ID 300 A/B ID 326 Studio 2: Techniques Studio 3: Projects Studio Human Factors Seminar 3 credits, 6 hours 3 credits, 6 hours 3 credits, 3 hours This studio will assist the student in acquiring The first semester introduces problems of The object of this research-intensive course is essential two- and three-dimensional represen- design from a highly conceptual point of view to develop the ability to apply technology tational skills to support the process of design, with an emphasis on user interface, informa- effectively to meet human needs through the including conceptualization, production, and tion technology, and areas of use. In the integration of human engineering principles in presentation. It is taught in a collaborative second semester, the students apply this the design of products and equipment. Human manner; the instructors conduct projects indi- humanistic understanding to develop more anatomy, anthropometrics, and the strength of vidually or as a team in order to provide complex products involving mechanical tech- body components are considered, as are sen- instruction and experiences over a wide range nology and systems. Emphasis is on the ability sory systems, human perception, and of subjects, including the tools, processes, and to apply the process of design to both hypo- psychology. Lectures are complemented by languages of conceptual drawing and mod- thetical and real problems while developing an laboratory experiments designed to teach stu- eling, rendering and detailing, using both the appreciation of meaningful form and the dents methods of testing and evaluating their computer and traditional media as a means to appropriate use of technology to meet human own product design concepts in human terms. assist design and control production. Students needs. Students discover relevant knowledge Concepts of scientific writing and reporting learn to apply these techniques to design prob- and apply it to practical problems of design– are demonstrated through the documentation lems addressed in ID 200 A/B. many brought to the studio by industry. of coursework. Prerequisite: Completion of the Foundation pro- Visiting experts also bring knowledge of cur- Prerequisites: ID 300 A, ID 214, ID 320 A, gram or permission of the instructor by rent design, marketing, and manufacturing and ID 327. portfolio review. practices into studio projects organized to explore the nature of different product types in ID 327 ID 290 different industries. Design Semantics Seminar Design Issues Seminar Prerequisites: ID 200 B, ID 220 B, and ID 290. 3 credits, 3 hours 3 credits, 3 hours This seminar addresses design as a languaging Designed to assist the student in developing an ID 312 process of social interaction. Semantic princi- understanding of the major issues of design in Architectonics ples and design vocabulary are introduced modern society. Discussions range from issues 3 credits, 6 hours through lectures, weekly readings, discus- such as the ecological responsibility of Visual principles for structuring and ordering sions, and exercises. Students work on designers to the contributions of individual architectural space. Introduction to formal individual as well as team-based projects to designers and design organizations throughout issues as applied to interior installations and increase the competence of translating these the history of the discipline. Assignments exhibition design will be developed through ideas, concepts, and principles into design include research and demonstration projects drawing, model-building skills, and other rep- practices, applying replicable design methods that explore ideas and illuminate ethical, prac- resentational means such as computer-aided toward proposing particular products whose tical, and moral issues with which designers drafting. This course will develop concepts meanings matter and whose use is dominated should be concerned. Students prepare infor- through analytical studies of objects/spaces by facets of human understanding. mation and present their views on issues and will culminate in an actual built/altered Prerequisites: ID 200 B, ID 220 B, through written, oral, and visual means. environment. and ID 290. Prerequisite: Completion of the Foundation pro- gram or permission of the instructor by ID 320 A/B portfolio review. Studio 4: Techniques 3 credits, 6 hours Assists the student in developing graphic com- munication skills using computational media and applying these skills to both two- and three-dimensional images and presentations. The student is taught to conceptualize, develop, detail, present, and communicate design ideas through graphic design, computer imaging, three-dimensional computer mod- eling, basic animation, and interactive design presentation. The first semester focuses on integrating graphic software and the develop- ment of printed presentations. The second semester focuses on the development of inter- active digital presentations. Prerequisites: ID 200 B, ID 220 B, and ID 290.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 167 ID 400 A/B ID 490 A Master of Industrial Studio 5: Projects Studio Design Theory Seminar 3 credits, 6 hours 3 credits, 3 hours Design In these senior design studio courses, the cur- In this industrial design seminar, students will riculum focuses on a highly critical and investigate advanced design philosophies, ID 600 responsible position in formulating new direc- issues, and pedagogy, from a historic as well Design Seminar: tions into product realization. as contemporary international design context. Concepts and Contexts Students are encouraged through critical Students study various definitions of design, 3 credits, 3 hours discourse and research on historical and con- explore design theories and issues, and con- A seminar devoted to examining the shift in temporary cultural shifts to formulate their sider theoretical relationships with other cultural, technological, material, and profes- own ideology. Investigations into the social, applied arts. sional landscapes that a graduate design ergonomic and ecological consequences of Prerequisites: ID 300 B, ID 320 B, ID 326, candidate must navigate. Through readings, product development are followed by a spe- and ID 327. presentations, and discussions, students cific program of context, abstractions and explore how these evolved contexts are conceptual studies, physical and material ID 490 B changing the nature of design practice and experimentation, and the research of tech- Design Practice Seminar thinking. Special emphasis is placed on devel- niques of construction. Development of 3 credits, 3 hours oping key concepts and ideas that inform the manual skills, highly communicative design Exposes the student to industrial design pro- work that the students undertake throughout drawings, sketch models, computer modeling, fessional practice through discussion, lectures, their program. The seminar works in parallel prototypes, and one-off objects are all and research. The following subjects are with the studio course; topics and themes cov- involved in the process. addressed: ered in the seminar are germane to the studio Industry-sponsored projects of international 1. Running a practice projects. caliber give opportunities for “client interac- 2. Legalities and contracts With permission of instructor. tion” from initial contact and proposals to 3. Publications final presentations of projects. One semester is 4. Exhibiting ID 601, ID 602 dedicated to production furniture design for 5. Client interaction Graduate Design Studio the new domesticity. The other semester is 6. Portfolio 6 credits, 6 hours dedicated to product design. A highly aca- Visitors represent a broad spectrum of the The major multidisciplinary studio where demic and theoretical thesis project runs design community from across the United design ideology, process, development, and simultaneously with a highly pragmatic States, including design shop owners, design production are emphasized through the inte- product development studio. curators from galleries or museums, industrial gration of critical issues that inform the design Prerequisites: ID 300 B, ID 320 B, ID 326, design entrepreneurs, and copyright lawyers. of products, systems, and environments. and ID 327. Prerequisites: ID 300 B, ID 320 B, ID 326, Issues discussed and studied are: human expe- and ID 327. rience and lifestyles; cultural and political ID 420 A/B issues; ergonomics; poetics; semantics; inter- Studio 6: Professional IN 440 activity; imagery; and form. The design Communication Design Internship process considers the above issues in the 3 credits, 6 hours 3 credits, 90 hours/semester formulation of a design program; conceptual Refines the students’ written, verbal, and Open to Graphic Design, Illustration, and Industrial and abstract studies; physical and material visual presentation skills, and assists them in Design majors only. investigations; simulated and physical developing communication materials for their representation; and the application of senior theses and industry-sponsored projects. manufacturing processes. Intensive group critique of individual presen- Corequisite: ID 600. tations prepared outside of class. Students develop self-promotion, presentation, and cor- ID 620 respondence materials utilizing service Advanced Design Methods bureaus and contemporary technologies such 3 credits, 3 hours as digital files, fax and the World Wide Web to As a complement to the studio course (ID prepare and transmit this information. 601), this course helps to develop methodolo- Prerequisites: ID 300 B, ID 320 B, ID 326, gies for critical, social and cultural analysis, and ID 327. strategies for design research, and the means for documenting that research and analysis. Students develop a common design process that provides the foundation for all subsequent MID work. The emphasis is on clear and con- vincing communication, a skill that is increasingly critical to designers as they work more and more with those outside of their own disciplines. Content for the course-work comes directly from the studio projects themselves. Corequisite: ID 601.

168 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 ID 625 ID 749 Advanced Computer Applications Masters Thesis Documentation Illustration 3 credits, 3 hours 6 credits, 6 hours A laboratory/practicum in the use of advanced A tutorial providing the opportunity for indi- IL 100 computing capabilities with emphasis on vidual candidates to develop and present their Foundation Illustration three-dimensional computer modeling, ren- theses in a manner that directly reflects their 1.5 credits, 3 hours dering, animation, and human figure modeling career objectives. The thesis project and docu- Within the context of illustration assignments, to evaluate and present design solutions with ment must exhibit an in-depth exploration of students are introduced to a variety of media, attention to collaborative design support an approved topic, which addresses an area of methods, styles, and techniques used to create systems. importance to the Industrial Design field and both black-and-white and color illustrations. With permission of instructor. contributes to the body of knowledge per- Includes conceptual, perceptual, and technical taining to that area. It may be carried out ID 627 problems. The development of narrative skills, under industry sponsorship, as part of a logical steps to problem solving, research, and Human Factors: Interactivity research project, or independently based. creative thinking will also be covered. Guest 3 credits, 3 hours Prerequisite: ID 602. Illustrators offer insight into the many ways A seminar course that addresses human artists are working in the field. behavior through the interaction with manu- factured objects, environments and systems, IL 200 A/B and the ergonomic, functional, informational, Pictorial Foundation aesthetic, and safety requirements encountered 3 credits, 6 hours in the design of these products for human use. Introduction to drawing and painting skills as With permission of instructor. they relate to illustration. Objective visual per- ID 700 ception, clarity in drawing, and technical facility are stressed. Students are exposed to ID Seminar: visual communications, strategies, and design Professional Development concepts through exposure to art history and 3 credits, 3 hours the field of contemporary illustration. A professional seminar/workshop that Prerequisite: FP 111. addresses the individual career interests of each degree candidate, especially as they IL 202 A/B relate to the student’s thesis project. The Figure Anatomy product of this course is the formulation of a 3 credits, 2 hours (lecture), career plan and objectives tailored to each 3 hours (drawing lab) candidate, and the development of a portfolio, Focus on the investigation and application of resumé, and other documentation targeted line, plane, mass, light and shade, shadow, toward the practical application of the candi- perspective, anatomy, and proportion as they date’s knowledge and skill. relate to figure drawing. Weekly sessions Prerequisite: ID 710. include a lecture, demonstrations from the ID 710, ID 711 skeleton, and drawing from life. Prerequisite: FP 111. Advanced Project Tutorial I, II 6 credits, 6 hours IL 204 Primary studio/practicums in which design Typography concepts are explored and skills, techniques, 3 credits, 6 hours tools, and products are developed, demon- Beginning studies in the form, use, nomencla- strated, and tested related to the thesis. ture, and history of typography. Individual Individual weekly meetings are scheduled letters, word formations, text arrangements, with faculty and with outside advisors as dic- type combined with imagery, and the applica- tated by thesis project objectives and tion of type to simple communication sponsorship. A faculty-monitored educational exercises will be addressed. Use of Macintosh practicum in a professional or industry setting computer for generating type and industry- may be arranged to fulfill preplanned project accepted software will be used. and career objectives. Prerequisite: FP 121. Prerequisite: ID 602.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 169 IL 205 IL 303 IL 403 A/B Drawing for Animators Figure Utilization Senior Portfolio 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours Focuses on introducing and developing the Studies of the figure in narrative contexts are Development of a portfolio based on the stu- skills and disciplines needed for good figura- explored, as is work from single and grouped dent’s personal interests, abilities, and target tive animation drawing. The primary issues of models, nude and costumed. Concentration on markets. Students focus on a freelance or anatomical figure drawing are covered with a developing compositions and concepts from studio orientation and develop over the year a strong emphasis on the structure and solidity different and often combined resources. working portfolio for presentation at the end of the figure, good proportions, and specific Drawing and painting techniques are utilized. of the spring term. In addition to the portfolio, movement and gesture as they relate to the Prerequisite: IL 302. the course offers instruction in marketing and model. Topics also covered: two-dimensional promotion, business practices and procedures, versus three-dimensional ways of translating IL 304 resumé writing, taxes, and small business form; how perspective and viewpoint are Sequential Format requirements as they relate to artists. The used with the figure and their effect on scale; 3 credits, 6 hours course culminates in The University of the exaggerated foreshortening techniques; dia- Course focuses on sequential formats. Arts’ Portfolio Day at the Society of grammatic and expressive line quality; facial Potential areas of inquiry include brochures, Illustrators in New York at the end of the expressions; hand and foot studies; capturing direct-mail pieces, simple animations, slide semester. movement through gesture; and introduction presentations, multi-page spreads, and identity Prerequisite: IL 300 B. to animal drawing for animation. programs. Corequisite: IL 400 A/B. Prerequisite: FP 111. Prerequisite: IL 301. IL 404 IL 300 A/B IL 310 Illustration Workshop: Illustration Methods Children’s Book Illustration Personal Viewpoint 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours The development of narrative and conceptual The design and illustration of children’s This special elective course is offered by the imagery, pictorial illusion, space, and their books. Emphasis on the stages of development Illustration Department for qualified Junior combined potential for communication. of a book from manuscript through dummy and Senior Illustration majors. The Procedures focus on developing visual aware- design to finished art. Professional practice, Department invites three of America’s most ness, personal imagery, and conceptual and working with editors and art directors are accomplished illustrators to share their talent, directions. Direct drawing situations and pho- discussed. Students become familiar with the insights, and expertise by finding and empha- tographic reference (existing or student- work of past and present book illustration and sizing the personal conceptual viewpoint of produced) also serve as source material for design. each student. The goal is to meld that identity pictorial development. Various media and Prerequisite: FP 111, Juniors and Seniors preferred. with each student’s developing technique to technical procedures are explored. The history create the greater vision of the artist through of the Golden Age of American Illustration is IL 400 A/B illustration as a self-expressive art form. Each covered. Assignments and lectures focus on Illustration of the three faculty presents his or her work the requirements of applied illustration. 3 credits, 6 hours and answers questions in an open forum, and Prerequisite: IL 200 B. Assignments revolve around specific areas of then teaches an intensive four-week long part illustration-advertising, book, documentary, of the course. The artists give lectures, tech- IL 301 editorial, and institutional. Emphasis is on nical demonstrations, and studio assignments Design Methods solutions, both practical and relevant, and the and students work through a demanding 3 credits, 6 hours type and quality of finish for professional process to produce finished illustrations. This Within the context of design/illustration proj- needs and demands. A senior thesis project flexible curriculum also allows for timely ects, a basic understanding of how artwork is (Ely Competition) is incorporated in the illustration issues to be covered as they reproduced in commercial print media. fall/spring semesters. develop in the field. Emphasis is on the relationship between elec- Prerequisite: IL 300 B. Prerequisite: IL 300 A, Junior and Senior tronic media and production techniques. Illustration majors only,by portfolio review. Specific programs utilized include: IL 402 QuarkXpress, Adobe Illustrator, and Adobe Communication Workshop IN 440 PhotoShop. 1.5 credits, 3 hours Design Internship Prerequisite: IL 204. Structured as a design studio, the workshop 3 credits, 90 hours/semester brings Graphic Design and Illustration majors Open to Graphic Design, Illustration, and Industrial IL 302 and their respective faculty together to pro- Design majors only. Figurative Communication duce posters for School of Theater Arts 3 credits, 6 hours productions. Students are challenged with Emphasis is on working from life. The course real-life, professional design studio experi- focuses on the use of the figure and or still life ences: working with a client on a deadline objects to communicate concepts in the from concept and design through production figurative context. Drawing and painting in the University’s Borowsky Center for media are explored. Publication Arts. Prerequisite: IL 202 B. Junior and Senior Graphic Design and Illustration majors only,approved by faculty advisors.

170 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Internships MM 499 PF 499 Multimedia Internship Internship 3 credits, 90 hours/semester 3 credits, 90 hours/semester Internships are a valuable part of a stu- Students are placed with regional companies Internship program in which the student is dent’s academic experience. By to expose them to a real work environment in placed in one of several professional situa- reinforcing and expanding classroom the fields of multimedia, web design, and tions. Placements in photography may include theory and practice, internships enable information. assisting in professional studios, practice in students to test career choices and gain a Open to Multimedia majors only. biomedical photography laboratories, and greater understanding of the workplace curatorial positions in galleries, among others. through this initial entry into the profes- MS 759 Placements in film and animation are spon- sional world. The ultimate goal of the Graduate Museum Internship sored by local independent production houses internship is to assist students in testing 3 credits, 90 hours/semester and television stations, design firms, and free- and expanding their professional skills A three-month, supervised practicum in a lance animation artists; students of film may and knowledge, and enabling them to cooperating museum. Taken in a cooperating assist in location shooting, set production, make informed career decisions. museum, the internship represents full-time editing, casting and scripting, and a myriad of Students applying for an internship employment equivalency under the mentor- other practical tasks. must meet the following eligibility ship of a professional museum educator. Prerequisite: PF 211 B (for Photo internships); requirements: junior or senior level in a Provides practical on-site experience, in which or PF 210 B (for Film/Video internships); BS or BFA program, a 2.5 cumulative the intern is integrated into the museum staff, or PF 212 B (for Animation internships). grade-point average, and be registered assuming professional-level responsibilities Open to Media Arts majors only. for no more than 18 credits, including and experience. A University professor also those from the Internship during the observes, advises, and assesses the student TH 449 semester. No more than six Internship during the internship. Internship credits may be credited toward a BS or Prerequisite for Museum Exhibition Planning 3-12 credits, hours by assignment BFA degree. and Design majors: 15 credits in Museum Studies. Hands-on involvement with a professional CM 499 Prerequisites for Museum Communication majors: company. Placements may consist of adminis- MS 501, MS 508, MS 600. trative or production support work, positions Communication Internship Prerequisites for Museum Education majors: in assistance to directors, producers, stage 1.5 credits, 90 hours/semester MS 510, MS 501, and MS 508. managers or dramaturges, literary manage- Professional internship with a media organiza- Open to Museum Studies majors only. ment, casting, understudying or performance, tion or producer. Student needs to gain and may be outside of the Philadelphia area. approval for internship from advisor, meet MU 499 Prerequisite/corequisite:TH 419. periodically for supervisory discussions, and Music Internship Open to Theater Arts majors only. complete a short, reflective essay at the end of 1-3 credits, 30-60 hours the internship. An opportunity to participate in a workplace WM 499 Open to Communication majors only. environment during the academic year. Internship DA 499 Students earn internship credit by completing 3 credits, 6 hours a minimum number of hours in the field Seniors are placed with companies to expose Internship during the semester, and by satisfying the them to a real work environment in the field of 3-12 credits, 90-360 hours/semester requirements of the sponsor, such as atten- media. Placements vary and may include local Internships are a valuable part of a student’s dance, punctuality, responsibility, network-affiliated television stations or public academic experience. By reinforcing and professionalism, and tasks completed. broadcasting stations. A paper or journal expanding classroom theory and practice, Students may be assigned to recording stu- chronicling the experience is required upon internships enable students to test career dios, radio stations, arts organizations, or with completion of the internship. choices and gain a greater understanding of music publishers, entertainment attorneys, Open to Seniors in Writing for Film and Television the workplace through this initial entry into music therapists, or record producers. only. the professional world. The ultimate goal of the internship is to assist students in testing MU 620/621 and expanding their professional skills and Graduate Professional Internship knowledge, and enabling them to make 1 credit, 15 hours/semester informed career decisions. Provides hands-on, sitting-in experience in a Open only to Junior and Senior Dance majors. variety of professional settings–rehearsals, IN 440 performances, meetings with producers, and in-studio projects such as recording, Design Internship arranging, or project coordination. The pro- 3 credits, 90 hours/semester gram is developed by the graduate advisor and Open to Graphic Design, Illustration, and Industrial major teacher in conjunction with the student Design majors only. to select topics and experiences most relevant IN 449 and beneficial to that particular student’s education. Crafts/Fine Arts Internship Prerequisite: Matriculation in the Master of Music 3 credits, 90 hours/semester program. Open to Crafts and Fine Arts majors only.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 171 Master of Fine Arts in FA 610 FA 695, FA 696 Studio Topics Independent Writing Project I, II Ceramics, Painting, or 3 credits, 5 hours repeatable 1.5 credits, 3 hours Sculpture Brings together students from each of the Informs the student’s ongoing Independent major disciplines to explore studio issues Studio investigations undertaken during the Each summer session will begin with a common to all visual arts. fall and spring off-campus semesters. The stu- dent proposes an area of research intended as detailed review of the student’s previous FA 611 work, assessing progress, addressing a continued examination of topics introduced Graduate Drawing problems, and planning the summer’s during the previous summer seminars, work. Ongoing individual meetings with 3 credits, 5 hours Structure and Metaphor or Art and Society. the studio mentor will be augmented by Advanced studio develops and expands the The student is encouraged to explore through group critiques at the beginning, middle, student’s visual language and skills while writing the range of issues emanating from and end of the summer session and by challenging his or her conceptual approach to seminar reading and discussion, and the rela- occasional group or individual critiques drawing by examining and applying the use of tionship of these external influences to the with visiting artists. Each summer’s materials and methods having historic and cul- development of themes and directions being course concludes with planning for work tural origins. explored in the studio work. to be continued on an independent study Open to all CAD graduate students upon Corequisite: FA 691, FA 692. portfolio approval. basis during the academic year. FA 781, FA 782 Independent studio work is assessed at FA 612 Thesis Writing Project I, II weekend critiques held at periodic inter- Professional Practices vals and at the end of the fall and spring 1.5 credits, 3 hours semesters. 3 credits, 5 hours Fall and spring off-campus semesters. Designed to familiarize students with Research for the Thesis Writing Project The following courses are open to students in methods, practices, and professional standards informs the student’s second-year independent the summer MFA program only. in preparation for the thesis exhibition and studio activity, which focuses on identifying eventual entry into the visual arts professions. and developing potential directions for the CR 610 Prerequisites: FA 610, FA 611. thesis exhibition and written thesis. The stu- PT 610 dent considers issues raised during the SC 610 FA 691, FA 692 previous summer’s seminar that are particu- Major Studio I Independent Studio I, II in larly relevant to the more focused direction of Ceramics, Painting, or Sculpture 6 credits, 10 hours his or her studio work. The student independ- Winter/Summer Critique Evaluation of the student’s artistic involve- ently formulates a proposal and bibliography ment; projecting and testing options for the 3 credits per semester, 5 hours for a formal paper to be based upon the more direction of the student’s graduate work. The Independent Studio is intended to assist developed direction of his or her work. The the student in establishing independent pro- range of issues considered for further investi- CR 611 duction in his or her major discipline while gation may include aesthetic, conceptual, PT 611 acquiring the ability to integrate studio pro- technical, or visual culture issues as well as SC 611 duction with the demands of off-campus life. the relationship of the major work to other dis- Major Studio II At the conclusion of Summer I and, subse- ciplines. 6 credits, 10 hours quently, Winter Critique I, the student and Corequisite: FA 783, FA 794. Further exploration of the options, with faculty mentor agree on a plan of work to be increased awareness of theoretical issues and pursued during the off-campus semester, personal vision. Greater focus in the student’s which will be a continuation of work begun in work, with a view to completing the personal the previous semester. The student is required repertoire of skills and expression in the to propose a direction for his/her investiga- medium needed to undertake a thesis project. tions and to have access to off-campus studio Prerequisites: CR 610, PT 610, SC 610. space within which to carry out the proposal. Enrollment in the Independent Studio requires CR 710 a commitment of 150 hours, equivalent to 10 PT 710 hours of studio activity per week during the SC 710 15-week off-campus semester. The studio Major Studio III mentor meets with the student five times 6 credits, 10 hours during the semester at three-week intervals, Planning and initiation of a sustained body of reviewing the student’s progress for a one to mature work to be presented in a thesis exhibi- two hour session. The first meeting is a group tion during the following summer. meeting held on campus and the next three are Prerequisites: CR 611, PT 611, SC 611. held as individual critiques at the student’s studio. One meeting may take place at the mentor’s studio. The last meeting is the final critique of the semester, which takes place at the Winter Critique held at the University. Corequisite: FA 695, FA 696.

172 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 FA 793 GR 691 Thesis Preparation I University Seminar: Multimedia 3 credits, 5 hours Structure and Metaphor Following the successful completion of 3 credits, 3 hours MM 110, MM 111 Summer II and the MFA Candidacy Review, An interdisciplinary seminar in which students Visual Concepts I, II the student is declared a degree candidate and from all graduate programs examine theoret- 3 credits, 6 hours may begin independently producing a body of ical issues of structure and metaphor in The fall semester covers fundamental visual work intended for eventual presentation in the relation to art and design. Topics include concepts including point, line, shape, compo- thesis exhibition following completion of cognition and perception, meaning and repre- sition, texture, color, and image. Although Summer III. In consultation with the studio sentation, and systems of organization and non-digital techniques are occasionally used, mentor, the student submits Thesis expression. the mastery of digital tools is a primary Preparation Plan I, identifying and describing (May be taken to satisfy Aesthetics and Art aspect. Exercises require students to develop a a direction of investigation to be undertaken Criticism corequisites for the MAT program.) vocabulary for discussing their work while at during the fall semester. The student is Graduate students only. the same time learning a basic set of software expected to identify specific issues to be GR 692 tools. The spring semester continues with an addressed: intended focus of the work, consid- introduction to the visual concepts of typog- University Seminar: erations of technique, materials, scale, raphy, series, sequence, and narrative. Art and Design in Society location, etc. The student must propose a per- Prerequisite: Open to non-majors with permission sonal timetable for accomplishing the thesis 3 credits, 3 hours of the instructor. and identify the sources that will be used in An interdisciplinary seminar in which students preparation for the exhibition. Enrollment in from all graduate programs examine theoret- MM 121 Thesis Preparation I and II requires a commit- ical issues relating to the place of art and Introduction to Interface Design ment of 150 hours, equivalent to 10 hours of design in society. Topics include the social 3 credits, 3 hours studio activity per week during the 15-week role of the artist/designer, public policy and The software interface represents the focal off-campus semester. the arts, issues of post-modernism, and aes- point of user interaction with the various Corequisite: FA 781. thetic and ethical implications of emerging modes of multimedia communication. arts and communications technologies. FA 794 Readings by interface theorists will inform (May be taken to satisfy Sociology/Anthropology discussions on the evolution of the software Thesis Preparation II corequisites for the MAT program.) interface, conceptual models, prototypes, 3 credits, 5 hours Graduate students only. interaction design, deliverables, and basic In consultation with the studio mentor, thesis GR 791 concepts of human-computer interaction. candidates propose further development of Avenues for pursuing interactive media design University Seminar: Criticism directions begun in studio work the previous in entertainment, publishing, and education semester by submitting Thesis Preparation 3 credits, 3 hours will also be addressed. Current technologies, Plan II for the spring semester to the mentor. An interdisciplinary seminar in which including the trend from soft to hard interfaces Corequisite: FA 782. advanced graduate students further examine are studied, in terms of their potential short- the nature of image-making and design with FA 795 and long-term influence on communication particular attention to the theories and applica- and multimedia. Basic methods for rapid pro- Thesis Exhibition tions of criticism. totyping and testing are considered. Graduate students only. 6 credits, 10 hours Prerequisite: Open to non-majors with permission The MFA degree certifies that the artist has of the instructor. attained a high level of competence and inde- pendent judgment in the discipline and is MM 130 qualified to stand with his/her mentors as a Information Concepts master artist. The thesis exhibition and accom- 3 credits, 3 hours panying written thesis are intended to serve as Emphasis is on the importance of organizing a demonstration of this mastery. During the and communicating information in a digital final semester, criticism-based research is world. Students will acquire a basic under- undertaken as a continuation of the summer standing of how computers operate and seminar in Criticism and is intended to assist communicate with each other, as well as an the MFA candidate in completing the written understanding of the evolution of the personal component of the thesis requirements. computer and the industries that have spun out of this technology. Student assignments include readings, database projects, and written analysis. Prerequisite: Open to non-majors with permission of the instructor.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 173 MM 150 MM 221, MM 222 MM 271 Collaboration and Spontaneity Interactive Studio I, II Survey of Multimedia 3 credits, 3 hours 3 credits, 6 hours 3 credits, 3 hours Through a series of exercises, class discus- Concepts and practical applications of interac- Examines the chronological evolution of dig- sions, and readings, explores what it means to tivity. The first semester focuses on creating ital technology and its inevitable application work as part of a team. Students learn to interactive media in low bandwidth environ- by the aesthetic community. Beginning with develop environments in which the creative ments. Developed for HTML environments the development of digital technology in the process is encouraged to unfold. The basic and their extensions for the World Wide Web. mid-1940s, the course discusses the conver- assumptions that affect the formation of col- Interactive modes explored include but are not gence of the scientific, military, and political laborative groups, such as personal limited to reading, play, and conversation. environments that spawned the employment of responsibility, authority relations, leadership Comprised of both lectures and practical exer- digital technology, including the path that led issues, individual differences, competition, the cises. Individual creativity is stressed as well to the digital dominance over analog. Includes development of norms, and the generation and as the understanding and use of interactive the enhancement, exploitation, and embracing uses of power are experienced, explicated, and devices in the communication of ideas. Both of digital technology by the corporate and aes- examined. Students work within this collabo- collaborative and individual exercises will be thetic communities, the invention of the rative environment to explore the connections assigned. The second semester focuses on personal computer and its ancillary products, between spontaneous verbal and nonverbal high bandwidth applications. and the application of digital technologies in communications. Prerequisite: MM 121 or permission of the fields as diverse as medicine, communica- Open to non-majors with permission of the instructor. tions, manufacturing, cognitive psychology, instructor. and in particular, the arts. Pioneers in all fields MM 223 will be identified and examined. MM 210 Interactive Narrative Prerequisite: HU 103 B. Visual Concepts Studio 3 credits, 3 hours Discipline History/Humanities 3 credits, 6 hours Introduces students to new ways of thinking Visual problem solving in a digital environ- about interactivity and storytelling. Students MM 310, MM 311 ment. A project-based visual art/design studio analyze how the interactive structure of an Multimedia Studio I, II that builds on skills developed in Visual experience creates narrative. Short readings 3 credits, 6 hours Concepts II. This course allows students the discussed in class range from Surrealist Dada The experience of producing complete multi- time to concentrate on and refine the visual and Fluxus language games to the experi- media works in a project-based environment. communications aspects of their craft through mental literature of Joyce and Burroughs to Lectures and meetings augment this studio three fully realized pieces. Projects are the literary theories of Barthes and Eco. course. Individual creativity is stressed as well assigned by the instructor, and conceived of Students examine contemporary examples of as collaboration in the creation of works and developed by the students. Projects may interactive media such as CD-ROMs, role- through individual and group projects. include but are not limited to: titling design playing games, and Internet sites. Assignments vary in scale, and focus on and animation, visual interface design; Prerequisite: Permission of the instructor. appropriate planning and information archi- graphic design; CD packaging design; poster tecture, as well as acquisition and creation of and postcard design; digital painting and MM 231 content in various media. Programming envi- drawing, etc. Digital Storytelling ronments used include but are not limited to Prerequisite: MM 111, or permission of the 3 credits, 6 hours HTML, Lingo, and Java Script. Previously instructor. This class explores how visual and aural lan- introduced concepts and technology are re- guages complement the verbal while explored with an emphasis on integration and MM 219 providing instruction in the use of multimedia effectiveness in the communication of the con- Introduction to Multimedia software. After collecting old photographs, cept of the piece. 3 credits, 6 hours movies, tape recordings, and meaningful Prerequisite: MM 222 or MM 219, or permission of An introduction to the basic software environ- objects, students create stories associated with the instructor. ments for digital interactivity. After them in digital form. concentrating on creating nonlinear texts, stu- MM 320 dents investigate the integration of other MM 240 Advanced Interface Seminar media elements. Subjects include the use of Writing for Games 3 credits, 3 hours buttons, screen navigation, transitions, basic 3 credits, 3 hours A seminar that builds on MM 121 scripting, and controlling sound and video. A writing laboratory that allows students to (Introduction to Interface Design). Focuses on develop competency in writing rule-based pro- the issues involved in creating user interfaces cedural description as well as evocative story in today’s development platforms (hardware, lines for games and user/play scenarios. software, input devices, cell phones, etc.). Special emphasis will be placed on the differ- Lectures, discussions, readings, research, and ences in writing required between game types writing constitute the body of this course. In (chance, puzzles, and strategies) as well as addition to current interface trends, the game genres such as role-playing, twitch, and process of developing the interfaces of games of perfect information. tomorrow is addressed. Prerequisite: HU 110 B. Prerequisite: MM 222, or permission of the instructor.

174 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MM 340 MM 350 MM 410, MM 411 Interactive Programming Business Seminar Senior Studio I, II 3 credits, 3 hours 2 credits, 2 hours 4 credits, 8 hours Introductory programming dealing with cre- A seminar that focuses on the professional Studio courses that make use of all the stu- ating interactive applications. The focus of implications of pursuing a career in multi- dents’ previous instruction. Consists of a this course will be on client and server side media’s various industries. Taught by a guest six-hour studio component and a two-hour cri- programming languages. Students will create lecturer. Lectures, discussions, readings, tique component. One project completed each applications in each of the languages taught. research, writings, and presentations consti- semester. Students will be prepared on the first The Internet as a programmable environment tute this course. Assignments include the day of each semester with a proposal that is stressed. This is primarily a lecture course creation of both a vita and resumé in addition includes but is not limited to a schedule, map, supplemented with practical introductory pro- to a portfolio. Professional practice is stressed. research, executive summary, and supporting gramming exercises and exams. Topics such as portfolio presentation, self-pro- documentation. Projects can be collaborative Prerequisites: MM 222, or permission of the motion, financials, interviewing, and firm or individual. Students are encouraged to try instructor,and completion of Game Design minor research will be addressed. both over the course of the year. requirements. Prerequisite: MM 310, or permission of the Prerequisite: MM 311. instructor. Open only to Multimedia majors. MM 341 Programming for Games MM 360 MM 440 3 credits, 6 hours Psychology of Human/Computer Innovative Interfaces An introduction to programing for interactive Interaction 3 credits, 6 hours game environments. Students learn techniques 3 credits, 3 hours The notion of digital environment transcends and theory through exercises and applications Students explore the ways humans interact the concept of a computer, as we know it. that they construct. The programming lan- with computers. How do humans treat com- These addresses and environments, although guage studied can change each semester and puters? Why? Should we interact with them supported by digital technology, are non-com- may include: FlashAction Scripting, the same way we do with other humans? The puter-like in many respects. Building these Advanced Lingo for Games, C++, or Java. reasons behind why some computer interfaces environments calls for changes in the choice Prerequisite: MM 221, or permission of instructor. work and some don't will be discussed in of interaction devices (using touch, voice, ges- depth. Should computers be able to perceive tures, and possibly just user’s intent as a basis MM 342 our emotions? Or should computers them- for interaction), shape and size of computers Game Play selves have emotions? The final for this course (no boxes, but interactive surfaces), their loca- 3 credits, 3 hours will allow students to take part in designing an tion (floor, wall, pocket), as well as a change A lecture-based focus on the human behavior original interface solution. in content structure. Using cross-disciplinary in the how and why of play and creativity. Social Science data from cognitive and computer sciences Course material examines the relationship and social psychology, the students in this between creativity and play, the effects of MM 370 research/studio course focus primarily on the reward and punishment, cultural notions of E-Music Thesis Project design and development of innovative ways of play, and the integration of play with design 3 credits, 3 hours interacting with digital technology. techniques that will enhance sustainability of A culminating course for students in the e- Prerequisite: MM 222, or permission of the play. Students examine the differences music minor in which they develop an instructor. between informed and uninformed play as application. Students develop a proposal for well as the phenomenon of flow. an application and carry the idea through MM 470, MM 471 research implementation, execution, and pres- Issues in Multimedia Seminar I, II MM 344 entation. With the consent of the instructor, 1.5 credits, 1.5 hours Game Design Thesis Project projects may be the work of one student or These courses serve as vehicles for discussion 3 credits, 3 hours that of a group of students, be in a variety of of current topics in multimedia. Special atten- Students complete a fully marketable game shapes, and in a variety of media. tion is paid to the discussion of emerging prototype. Students and instructor examine Prerequisite: Completion of E-music minor technologies and criteria for evaluating their how the gaming industry functions as well as requirements. effectiveness, appropriate use, and potential. research and develop an individual work. Ethical issues surrounding new media are dis- Special attention is paid to preparing to enter cussed. the field. Prerequisite: Completion of Game Design minor requirements.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 175 MM 472 MS 510 Special Projects in Multimedia Museum Studies Museum Education Practicum 3 credits, 3 hours 3 credits, 3 hours This seminar is designed to give students MS 501 Develops the practiced insight and skills direct contact with their soon-to-be peers in Museum Seminar: The Museum needed as a professional in a museum environ- the various multimedia industries. The multi- 3 credits, 3 hours ment with all age groups. Provides media industries that may be covered include Lecture/seminar course exploring the history, opportunities for preliminary observations and but are not limited to: fine art, interface organization, and operation of the museum as experience with professional museum educa- design, installation art, game design, and elec- a cultural/educational institution, an economic tors and directors. The seminar is conducted in tronic music. Timely and relevant issues entity, and a management enterprise. Visiting conjunction with museum visits and visiting concerning the craft, thought, and professional lecturers bring a wide range of knowledge and lecturers. Through this process, students study expectations of a multimedia artist/designer practices from their respective institutions and dynamic teaching techniques, which explore will be the content of this course. Topics consultancies to provide the student with and interpret information, concepts, and cul- related to the multimedia industries in general insight into the differences between museums tural values of a museum collection. Hands-on and the instructor’s specific industry experi- of different types, sizes, and missions. The techniques and experiences with curriculum ence will be discussed. Readings, discussion, course provides students with an overall development and methodology prepare stu- and a practical presentation or project will understanding of the museum as an institution dents for research and internships. make up the body of this course. and an introduction to the many roles played MS 600 Prerequisite: MM 350, or permission of the by museum professionals. instructor. Museology Prerequisite: Upperclass undergraduate or graduate Open only to Multimedia majors. standing. 3 credits, 3 hours Introduction to the social and cultural theory MM 499 MS 502 underlying museum practice. The museum is Multimedia Internship Museum Seminar: The Exhibition studied as a dynamic institution. Its structure 3 credits, 90 hours/semester 3 credits, 3 hours and functions are examined in the context of Students are placed with regional companies Lecture/seminar course exploring the philos- political, economic, and social change. A sem- to expose them to a real work environment in ophy and history of museum exhibitions and inar/lecture course, students study the writings the fields of multimedia, web design and the development of the museum exhibition of the founders of modern museum theory information. form. Visiting lecturers bring a wide range of focusing on the development of museums and knowledge and practices from their respective their service to the public, learning as a central professional disciplines and provide insight focus of contemporary museums, and the shift into museum exhibition practice. Provides stu- from private to public support and responsi- dents with an overall understanding of the role bility for museums. exhibitions can and do play in public institu- Prerequisite: Graduate standing, or admission to a tions. Offered in the evening. Priority for Museum Studies program. enrollment is given to graduate students in the MS 601 Museum Education, Museum Issues in Museums Seminar Communication, and MEPD programs. Prerequisite: Upperclass undergraduate or graduate 3 credits, 3 hours standing. Presents and discusses current political and social issues, which may unexpectedly and MS 508 sometimes problematically affect museum The Museum Audience practice, particularly in the public areas of 3 credits, 3 hours exhibition, programming, and publications. Lecture course focusing on museum commu- Recent examples would include controversial nications and learning, identifying the exhibits: legal, gender, race, cultural, and reli- characteristics of the museum visitor, the ways gious issues impacting museums; and the in which visitors experience museum exhibi- public right to participate in the museum tions, cognitive and affective behavior, the experience as an active contributor. Museum relationship of museum exhibitions and edu- scholars, specialists, and university faculty cational programming, and the impact of offer in-depth examination of current topics. museum visitor studies on the planning and Students complete projects designed to design of museum exhibitions and the envi- develop professional ability to deal with ronment. emerging debates in the museum profession Prerequisite: Upperclass undergraduate or graduate and the knowledge of the impact of politics standing. and the mass culture on museum policies and practices. Prerequisite: MS 600.

176 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MS 602 MS 619 MS 622 Museum Governance: Legal Issues, Video, Film, and Technology for Media for Museum Communication Ethics and Museums Museum Interpretation 3 credits, 3 hours 3 credits, 3 hours 3 credits, 3 hours Laboratory/workshop course on utilization of Legal status of the museum and its obligations Students become familiar with important his- appropriate technological media, with to the public, governance, staffing, and policy- torical, philosophical, and site-based emphasis on the creation of visitor interaction. making as a nonprofit organization. interpretive uses of media in museum settings Prerequisite:Admission to museum programs. Establishing collections policies, laws, regula- through a practicum that includes analysis of Computer literacy,familiarity with Macintosh tions, conventions, and codes that affect media (video, film, and technology) in trans- System 9 required. acquisitions, deaccessions, loans, and collec- ferring knowledge and information in the tions care. The case study method is used to museum environment. Relates the artistic, his- MS 623 A examine the issues, the law, and the decisions torical, and content to the techniques of a Exhibition Materials and Methods that affect today’s museums. State, federal, variety of moving image and multimedia 1.5 credits, 3 hours and international legislation, common law, approaches. Research, planning, supervision, Demonstration/studio course directed at the and the applications of administrative law in outsourcing, and execution of media pieces problems of working with basic materials, museums are examined. Examines the com- for museum environments are explored. methods, and tools of exhibition fabrication plex relations of museums and museum Prerequisite:Admission to a Museum Studies pro- and study of the characteristics of these mate- professionals with trustees, collectors, donors, gram and computer literacy. rials, methods, and tools. dealers, outside interest groups, and artists. Prerequisite:Admission to a Museum Studies pro- Prerequisite: MS 600. MS 620 A gram, or MS 620 A/B. Museum Graphics MS 610 A/B 1.5 credits, 3 hours MS 623 B Museum Exhibition Design Studio Writing, design, and production of museum Exhibition Materials and Methods 6 credits, 12 hours graphic components. Graphic Design is 1.5 credits, 3 hours The primary vehicle for exploring and devel- defined as any visual information in museums Demonstration/studio course directed at the oping museum exhibition planning, design, that is two-dimensional rather than three. problems of exhibit production, the choice of project organization, and presentation skills Corequisite: EM 211 or competence in computer materials and methods, suppliers of materials and techniques. desktop applications. and services, and the use of CAD (computer- Prerequisite:Admission to MEPD program. aided design). MS 620 B Prerequisite: MS 623 A. MS 615 Museum Lighting Educational Programming for 1.5 credits, 3 hours MS 648 Museums and Alternative Sites A lecture/demonstration/workshop course Graduate Museum Project 3 credits, 3 hours dealing with the use of lighting and color in 3 credits, 3 hours Prepares museum educators for the develop- the museum environment. Culminating research project concerning ment of educational programs and plans for Prerequisite:Admission to a Museum Studies pro- museum studies, management, and education. diverse types of museums and alternative gram, or MS 620 A. The project is completed in one semester and learning sites. Exposes students to current includes the study of research in the field, a issues and trends in museum education such MS 621 team project with the Museum Exhibition and as interdisciplinary and integrated learning, Publications, Public Relations, Planning program, and an individual project and issues of diversity. Methods of inter- and Marketing related to the student’s main area of interest preting works of art, artifacts, and collections 3 credits, 3 hours within the museum profession. Provides are studied. Extensive “theory into practice” Organizational principles and practices as they preparatory research for the culminating component provides students with the oppor- relate to the processes of public relations and museum internship (MS 658). tunity to apply theory to actual permanent museum communication (primarily print Pre/corequisites: MS 510, MS 622, MS 501, and collection and temporary exhibition projects at media). Topics include public relations, inter- MS 508 (except MEPD students). area museums. pretive and informational publications, Prerequisite: MS 508. advertising, identity, audience development, and marketing. Addresses the use and creation of publications, marketing plans, institution and exhibition-based public relations, the cre- ation of effective identity programs, and audience development through membership and outreach programs. In a workshop setting, students learn to create effective publications and print media, and discuss Web-based com- munication. Students work under the guidance of a university professor and visiting experts in the museum field. Prerequisite: MS 620 A or equivalent experience.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 177 MS 650 MS 658 MS 759 Development, Fundraising, and Museum Education Internship Graduate Museum Internship Grantsmanship 6 credits (or 3 credits per semester for 3 credits, 90 hours/semester 3 credits, 3 hours Museum Education students) A three-month supervised practicum in a Introduction to the organizational develop- Taken in a cooperating museum, the internship cooperating museum, the internship represents ment principles as they relate to fundraising represents full-time employment equivalency full-time employment equivalency under the and grant writing process. Addresses the under the mentorship of a professional mentorship of a professional museum edu- changing nature of funding for contemporary museum educator. It is intended to provide cator. Provides practical on-site experience, in museums, and sources of funds. The need and practical on-site experience in which the which the intern is integrated into the museum methods for developing new forms of public intern is integrated into the museum staff, staff, assuming professional-level responsibili- programming and communication to achieve assuming professional-level responsibilities ties and experience. A University professor direct public support of the museum will be and experience. A University professor also also observes, advises, and assesses the stu- addressed. In a workshop setting, students observes, advises, and assesses the student dent during the internship. learn current techniques for formulating insti- during the internship. Prerequisite for Museum Exhibition Planning tutional funding requests under the guidance Prerequisites: MS 510, MS 501, MS 508. and Design: 15 credits in Museum Studies. of an instructor and visiting experts in the Prerequisites for Museum Communication: MS museum field. Students will acquire profes- MS 710 501, MS 508, and MS 600. sional knowledge of museum practices in Museum Exhibition Design Studio Prerequisites for Museum Education Students: development and revenue generation; and 6 credits, 6 hours MS 510, MS 501, and MS 508. skills in developing a master plan and carrying The primary vehicle for exploring and Open to Museum Studies majors only. out its elements for specific institutions and developing museum exhibition planning, for specific funding objectives. design, project organization, and presentation Prerequisite: MS 501 or MS 600. skills and techniques. Prerequisites: MS 501 and MS 610 B. MS 651 Collections Management and MS 740 Computer Applications in Museums Thesis Research 3 credits, 3 hours 3 credits, 3 hours Students acquire the skills and knowledge Examines the principal approaches to necessary to develop, implement, and super- research. The nature of appropriate research vise collections management projects. methods for selected thesis topics; the Emphasizes data processing applications approaches and benefits of various methodolo- related to collections management, documen- gies; and the steps in research design. Students tation, and other museum functions, including identify a research problem, design a study, collections administration, loans requests, collect and analyze data, compile, interpret, rights and reproductions, exhibition planning and report the results. and design, publications, collections security, Prerequisites: Graduate standing, and completion and project management. Topics include mul- of or enrollment in MS 501, MS 502, MS 600, timedia and digital imaging, graphics, and or MS 648. database development and processing stan- dards. Instruction in computer languages, MS 749 A/B database development and use, and digital Thesis Development imaging. Word processing experience and 6 credits (or 3 credits per semester for access to a computer are expected. Database MEPD students) management experience is helpful. 3 credits (or 1.5 credits per semester for Prerequisites: MS 600, and a general level of com- Museum Communication students) puter competence. Independent research and design in an area supporting the student’s career objectives and interests. Prerequisites for MEPD students: MS 502 and MS 610 A/B. Prerequisites for Museum Communication stu- dents: MS 501, MS 508, MS 600.

178 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MU 113 MU 127 A/B Music Freshman Improvisation Flute Class for Non-Majors 1 credit, 1.5 hours 1 credit, 1 hour MU 007 A/B Introductory-level jazz improvisation dealing Provides the student with a solid introduction Introduction to Music Theory with linear, melodic, harmonic, and rhythmic to tone and technique development and reper- 3 credits, 4.5 hours fundamentals of improvisation, as well as the toire for the flute. interactive and group aspects. Lecture and Fundamentals of music theory, designed to MU 130 A/B introduce students to the basic principles of skills development with a performance base. Piano Class for Non-Majors theory and harmony. Open to Music majors only. 1 credit, 1 hour MU 010, MU 020, MU 030 MU 115, MU 116 Instruction in traditional beginning piano. Jury Examination Music Technology Survey Coursework includes basic technique 0 credits 1 credit, 1 hour including scales, chords, and chord melodies. Provides students with a working knowledge MU 040 of music technology practices, definitions, and MU 131 A/B Senior Recital concepts. Through both lecture and lab Class Piano I, II 0 credits classes, students become familiar with a cross- 1 credit, 1 hour section of hardware and software currently in Introductory and elementary keyboard MU 100 use by the school and working professionals. training using theoretical, harmonic, and tech- nical concepts in practical keyboard Major Workshop MU 121 1 credit, 1.5 hours application: transposition, melody harmoniza- Calligraphy Students, grouped by major, learn and practice tion, elementary improvisation, technique, and aspects of performance including technique, 1 credit, 1 hour repertoire. literature, sight-reading, and improvisation. Professional methods of musical score and Open to Music majors only. part preparation, both in the traditional way Students perform individually and in groups. MU 139, MU 140 Open to Music majors only. with paper and pen, and with computer pro- grams. An elective for all majors. Styles and Diction MU 103 A/B Prerequisite: MU 107 B or permission of instructor. 1 credit, 1 hour Required of all vocal majors. Students prac- Musicianship I, II MU 123 A/B 3 credits, 3 hours tice English and Italian diction, and perform Guitar Class for Non-Majors The establishment of fundamental skills for faculty and guests in a variety of musical through the singing and recognition of dia- 1 credit, 1 hour styles. tonic materials, i.e., scales, intervals, triads, One hour class of instruction in contemporary Open to Music majors only. guitar. Course covers basic technique and seventh chords, both as isolated phe- MU 141 A/B nomena and in musical contexts. Solfeggio including fingering, scales, chords, and Voice Class for Non-Majors performance of diatonic melodies and chord melodies. 1 credit, 1 hour rhythmic performance in all basic meters are MU 124 A/B emphasized, as well as the dictation of these Voice instruction using traditional methods. Drum Class for Non-Majors materials. Course covers proper technique of breathing, Permission of instructor is required. 1 credit, 1 hour support, focus of tone, production of clear Drum set instruction in basic technique and vocal line, and some musical interpretation MU 107 A/B contemporary styles including rock, jazz, of literature. and Latin. Music Theory I, II MU 149 A/B 3 credits, 3 hours MU 125 A/B Aural Concepts An introduction to basic theory. Includes the Brass Class for Non-Majors study of scales, intervals, chords of various 3 credits, 3 hours types, harmonic progression, and the analysis 1 credit, 1 hour For non-Music majors. An introduction to the of small musical forms. Designed for students with little or no experi- use of music and sound as components of Permission of instructor is required. ence or formal training. Students will learn multimedia and their potential for enhancing basic breathing, embouchure, and reading communication. Recognizing the special MU 111 A/B techniques. background and needs of the non-music major student, examines the fundamentals of music Composition Class for Non-Majors MU 126 A/B 1 credit, 1 hour and sound, their potential relationship to the Saxophone Class for Non-Majors Students develop basic skills in various visual image, and the technology necessary to aspects of composition, including form, 1 credit, 1 hour implement that relationship. melody, harmony, rhythm, color, texture, Introductory class in saxophone techniques, notation, improvisation, and orchestration. embouchure, sound production, breathing, fin- gering, and literature.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 179 MU 151 A/B MU 213 A/B MU 301 A/B Introduction - Music Education Jazz Improvisation I, II Music History I, II 1 credit, 1 hour 2 credits, 3 hours 3 credits, 3 hours A two-semester sequence required of all stu- The application of improvisational techniques Designed to define the major style periods dents in the MATPREP program, and open to encompassing all standard forms and styles. from ancient Greece to the present in terms of any student interested in exploring Music Performance practices are related to the indi- their philosophies, accomplishments, and Education as a career option. Survey course vidual student’s abilities, background, and interrelationships. Composers, performers, designed to provide an overview of music experience. Coursework includes solo tran- and theorists are examined in the context of teaching– past, present, and future, and to scription and analysis, a comparison of musical literature with emphasis upon styles, serve as an introduction to the philosophy, improvisational methods, and a survey of edu- forms, and techniques of composition as they methodology, and professional role of the cational resources. evolve and change. The sequence puts into music teacher. Prerequisites: MU 103 B and MU 107 B, or permis- historical perspective the materials presented Open to Music majors only. sion of instructor. in the Music Theory courses. Through lis- Open to Music majors only. tening assignments, students are expected to MU 190 A/B further develop their aural skills and knowl- Applied Instruction Non-Majors MU 232 A/B edge of musical literature. 1.5 credits, 0.5 hour Class Jazz Piano I, II Discipline History/Humanities Private instruction in all instrumental, vocal, 1 credit, 1 hour and composition areas. Harmonic concepts in keyboard application MU 306 A/B Permission of instructor is required. for jazz and contemporary music, chord History of Rock Music voicings for popular tunes, standards, and 3 credits, 3 hours MU 191 A/B - MU 591 A/B original harmonizations. The history of Rock from its inception in the Applied Major Instruction: Voice Prerequisite: MU 131 B. 1950s to the present. Beginning with the 3 credits, 1 hour Open to Music majors only. important antecedents of Rock and Roll, the Private instruction in voice. course historically traces the various styles Open to Music majors only. MU 241 A/B that evolved from that time to the present. Vocal Styles and Diction I, II There are live demonstrations and illustrations MU 192 A/B - MU 592 A/B 2 credits, 2 hours by guests in class. May be taken for elective Applied Major Instruction: Brings together Vocal majors to expose them credit. Instrumental to the wide variety of literature and styles Humanities 3 credits, 1 hour required of professionals. Students perform Private instruction in instrumental area. and are critiqued by faculty and guests. MU 307 A/B Open to Music majors only. English, Italian, French, and German diction Advanced Jazz Theory are studied. and Ear Training MU 193 A/B - MU 593 A/B Prerequisites: MU 131 B and MU 140. 3 credits, 3 hours Applied Major Instruction: Open to Vocal majors only. Practical study of jazz and pop theory com- Composition bined with an advanced ear-training program, 3 credits, 1 hour MU 254 emphasizing performance application. Private instruction in composition. Basic Conducting Students are required to bring their instru- Open to Music majors only. 2 credits, 2 hours ments to class. Coursework includes A study of fundamental conducting skills and recognition, writing, dictation, and sight MU 208 A/B techniques with emphasis upon physical reading of advanced chords, chord additions Jazz Theory I, II aspects of conducting, score reading and and alterations, chord substitutions, progres- 3 credits, 3 hours preparation, and rehearsal principles. sions, and rhythm. A study of diatonic and chromatic theory as Open to Music majors only. Prerequisite: MU 208 B. related to jazz and contemporary music. Open to Music majors only. Prerequisite: MU 107 B or permission of instructor. MU 257 A/B Lab Teaching/Practicum I, II MU 308 A/B MU 209 A/B 2 credits, 2 hours Analysis and Composition of Jazz Ear Training I, II Observation and introduction to teaching in Contemporary Music 3 credits, 3 hours the schools. Course includes field experience 1.5 credits, 1.5 hours Melodic, harmonic, and rhythmic aural skill as well as classroom seminars. Examination of compositional techniques development in the jazz and contemporary Open to Music majors only. used in pop songs, jingles, soundtracks, and music idioms. underscores for radio, TV, records, films, Prerequisite: MU 103 B or permission of instructor. shows and industrials. Students investigate the ways in which music serves to enhance the overall goals of the product or project. Musical analysis demonstrates how each style is created. Students produce their own musical compositions in each media context. Prerequisite: MU 208 B. Open to Music majors only.

180 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MU 309 MU 317 B MU 356 A/B Advanced Rhythmic Skills Orchestration II Music Teaching Skills I, II 1 credits, 1.5 hours 3 credits, 3 hours 1 credit, 1 hour This is a skills-based class intended to Primarily intended for composers, this course Incorporates advanced skills in functional advance the student’s rhythmic understanding presents an analytical history of orchestration. piano, guitar, recorder, writing/arranging for and performance abilities as applied to solo Coursework culminates in a large project that elementary classroom ensembles, handbells, and sectional playing and singing, as well as is scored and critiqued. Composers establishment of classroom environment. improvisation, reading, arranging, tran- are encouraged to orchestrate their own Projects include arranging, performing, and scribing, and composing. Subject matter is compositions. simulated teaching. derived from and applies to comtemporary Prerequisite: MU 208 B and MU 317 A. Open to Music majors only. American and Latin popular and art music. Open to Music majors only. Prerequisites: MU 208 B, MU 209 B and MU 390 MU 213 B. MU 331 A/B Introduction to Acoustics Advanced Piano and Accompanying 3 credit, 3 hours MU 310, MU 311 1 credit, 1 hour This course deals with the physical nature of Transcription and Analysis Designed for all music majors, this course sound, the reception and perception of sound, 1 credit, 1.5 hours continues in the development of piano tech- theories of consonance and dissonance, scales Designed to advance the skills of ear training, niques with an emphasis on learning tunings and temperaments, the acoustic prop- theory, and improvisation using transcription, self-accompaniment. Literature from all vocal erties of musical instruments, electronic analysis, and composition. Students transcribe areas is practiced including oratorio, musical instruments and the voice, sound reinforce- and compose melodies, rhythms, harmonies theater, jazz, opera, and contemporary. ment, and environmental considerations. and arrangements, in increasingly complex Students also accompany other singers. Open to all students. forms. The musical theory underlying each Prerequisite: MU 232 B. Science/Math piece is discussed and sometimes performed and used as a basis for further work. MU 341 A/B MU 401 A Prerequisites:MU 208 B,MU 209 B,and MU 213 B. Vocal Styles and Diction III, IV Jazz History 2 credits, 2 hours 3 credits, 3 hours MU 313 A/B Continuation of MU 241 A/B. Study of jazz from its African and European Jazz Improvisation III, IV Prerequisite: MU 241 B. roots through its emergence at the turn of the 2 credits, 2 hours 20th century as a unique and distinctive Continuation of MU 213 A/B. MU 344 A/B American art form. The various styles of jazz Prerequisite: MU 213 B. Opera Staging I, II are studied (ragtime, New Orleans Dixieland, Open to Music majors only. 2 credits, 3 hours Chicago style, swing, be-bop, cool, hard bop, The interpretation and performance of opera free-form, third stream), including their effect MU 315 A/B roles. Technical and artistic preparation for on the popular music with which jazz has Jazz Arranging I, II public performance from workshops to major coexisted. An in-depth study of the primary 2 credits, 2 hours productions of full operas. exponents of the various styles. Audio and A functional approach to ensemble scoring Permission of instructor is required. video materials are used to provide students including score analysis, combo arranging, with a better understanding of jazz and its arranging for mixed instrumentation, musical MU 347 A/B influences on the music industry. settings for vocalists, string writing, writing Advanced Sight Reading Prerequisites: MU 208 B, MU 209 B, and for pop recording, and special techniques for 1 credit, 1 hour MU 213 B, or permission of the instructor. multi-track recording. An advanced music reading course designed Discipline History/Humanities Prerequisites: MU 208 B and MU 209 B. to further develop the student’s music reading, writing, recognition, and inner-ear skills. MU 401 B MU 317 A Prerequisite: MU 209 B or TH 222 B. American Music History Orchestration I 3 credits, 3 hours 3 credits, 3 hours MU 348 A/B The development of both classical and popular Introduction to instrumentation, designed to Vocal Improvisation American musical styles from the 17th to the acquaint the student with ranges, transposi- 2 credits, 2 hours 20th century. Recordings and films as well as tions, functions, and characteristics of Develops improvisation skills for vocal in-class performances will help bring to life individual instruments and voices. Aural and majors through the study of advanced vocal the music of our American past. Students gain score analysis provide the basis for under- techniques, transcription, theory and analysis, a clear understanding of the social, historical standing of vocal and instrumental treatments and metric concepts. and musical time line that evolved into our in small and large ensembles. Written orches- Open to Music majors only,or with permission current musical environment. trations are required. of instructor. Humanities/Art History Prerequisite: MU 208 B. Open to Music majors only.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 181 MU 402 MU 411 MU 420 A World Music 20th Century Music Business of Music 3 credits, 3 hours 3 credits, 3 hours 2 credits, 2 hours The classical and folk music of various coun- A study and analysis of the music of the first Examination of the legal, practical, and proce- tries in Asia, Indonesia, the Middle East, half of the 20th century, by composers such as dural problems encountered by the practicing Africa, and the Western Hemisphere. Course Schönberg, Berg, Webern, Stravinsky, musician. Content includes the study of music open to all University students, which may be Hindemith, Varèse, Bartok, Copland, and publishing, recording contracts, and copyright taken for Music or Liberal Arts credit. Messiaen. and intellectual property rights issues. Humanities Prerequisites:MU 208 B,MU 209 B,and MU 213 B or permission of the instructor. MU 420 B MU 406 Humanities Careers in Music Advanced Rhythmic Theory 2 credits, 2 hours and Practice MU 413 A/B Study in the career options available to musi- 3 credits, 3 hours Recording I, II cians and the knowledge and craft necessary Study of the rhythmic theories and practices 2 credits, 2 hours for the successful recognition and exploitation of such composers as Hindemith, Messiaen, Study of the recording process and the many of these opportunities. Stravinsky, Carter, Reich, Bartok, and facets of the recording studio. Designed to Open to Music majors only. Babbitt, as well as other contemporary and familiarize the student with conventional and jazz composers. creative recording techniques through prac- MU 424 Prerequisites:MU 208 B,MU 209 B,and MU 213 B. tical experience in the studio. Wagner and the Ring Cycle Open to Music majors only. 3 credits, 3 hours MU 415 A/B An in-depth study of Wagnerian opera with MU 408 Introduction to MIDI and special emphasis on the four operas that con- Form and Analysis Electronic Technology stitute the Ring Cycle. Lectures and 3 credits, 3 hours 3 credits, 3 hours discussions will cover libretti, harmonic This course serves as a continuation of the Detailed, applied examination of the use of idiom, staging, and symbolism. theory work of the freshman year. It is an microcomputers in the present-day composi- Open to all University students for free elective or enhanced study of classical theory designed to tion environment. The course includes the Liberal Arts credit. prepare students for graduate work and for the uses of the computer, the language of MIDI, teacher certification examinations. The sequencing, FM and other types of synthesis, MU 427 emphasis is on harmonic forms and those built and a survey of currently available music soft- Diaghilev and His Time upon ostinati principles. The literature for ware packages. Students are strongly 3 credits, 3 hours study is drawn from all musical periods. encouraged to engage in independent work The role of Serge Diaghilev and his famous Prerequisite: MU 107 B. based on their own compositional interests. Ballet Russes in shaping the course of music No prior computer or synthesis experience is and dance from 1909-1929. Special emphasis MU 409 needed. on the works of Igor Stravinsky with reference Contrapuntal Theory and Analysis to his music for the stage. The interrelation- 3 credits, 3 hours MU 416 A/B ships between various artists, dancers, and A continuation of freshman theory courses MIDI Synthesis I, II writers such as Picasso, Cocteau, Nijinsky, taken by instrumental, vocal, and composition 1.5 credits, 0.75 hour Bakst, Massine, and others who were active in majors. It is designed to enhance basic clas- Students become proficient at the skills neces- Paris. Works are examined from the perspec- sical theory skills; to prepare for graduate sary to work creatively in the MIDI studio. tive of the composer, the choreographer, the level theory work; and to meet the require- Current synthesis methods and programming set and costume designer, the dancers and the ments on the theory portions of the teacher of original sounds and drum machines; sam- audience. Literature includes Stravinsky certification examination. The course centers pling procedures; collecting and editing (Firebird, Petrushka, Rite of Spring, Les on contrapuntal organization and contrapuntal original samples; MIDI studio recording Noces, Pulcinella, Oedipus Rex), Debussy devices. The literature is drawn from all processes; the use of sync codes. (Jeux), Ravel (Daphnis and Chloe), Satie musical periods. Harmony, rhythm, melody, Prerequisite: MU 415 B. (Parade), De Falla (The Three-Cornered Hat), and timbre are discussed as they relate to Milhaud (Le Train Bleu, La Creation du specific compositions. Requirements include MU 417 A/B Monde), Poulenc (Les Biches) and Prokofiev. analytical study, out-of-class listening and Opera Literature Open to all University students for free elective or research, and written contrapuntal 3 credits, 3 hours Liberal Arts credit. assignments. Survey of operatic styles and genres. Prerequisites: MU 107 A and MU 107 B. Emphasis on the cultural and social contexts of a wide diversity of operas, and upon char- acter analysis. Intensive examination of complete operas. Open to all University students for free elective or Liberal Arts credit. Humanities

182 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MU 441 A/B Master of Arts in MU 553 Vocal Workshop Music and Special Children 1 credit, 1 hour Teaching in Music 2 credits, 2 hours Exit-level course for vocal majors, which pre- Education Readings, discussions, guest speakers, class- pares students for the musical, career, and room observations and simulated teaching performance practices they will encounter in MU 550 define and examine various types of disabili- the competitive professional marketplace. Advanced Conducting ties; offer a background on special education Class includes lectures by guest singers, com- 3 credits, 3 hours practices and laws in America; develop an posers, opera and musical directors, vocal Advanced conducting techniques and applica- appreciation of the needs of handicapped per- coaches, and record producers. tions of these techniques to instrumental or sons in general society, in education, and in Prerequisites:MU 331 B,MU 341 B,and MU 347 B. choral music teaching at the secondary school music education; and guide music education students in developing goals and objectives, MU 444 A/B level. Emphases include the selections of appropriate literature, style and interpretation, adapting lessons, and preparing meaningful Opera Staging III, IV rehearsal planning and implementation, evalu- lesson plans for special students in the music 2 credits, 3 hours ating performance outcomes, and special classroom. Participation in class discussion Continuation of MU 344 A/B. considerations relative to the teaching of based on assigned reading, a written/verbal Prerequisite: MU 344 B. music through the vehicle of performance. presentation on a specific disability, field observations, and two written examinations MU 451 A Students select either instrumental or choral emphasis. provide bases for evaluating student achieve- Psychology of Music Teaching I Prerequisites:A course in Basic Conducting and ment. Prerequisite: Matriculation in the MAT in Music 2 credits, 2 hours matriculation in the MAT in Music program. Acquaints the prospective music educator program. with the major theories and developments MU 551 MU 554 A associated with child development in physical, Education in American Society Elementary Methods and Materials emotional, and psychological terms; and a 3 credits, 3 hours volume of principles supported by psycholog- Lecture/discussion, field research, and presen- 3 credits, 3 hours ical observation and investigation, which tations address historical, philosophical, and Concentrated study of methods and materials appear to possess import for the contemporary issues in American education. involved in planning, implementing, and eval- teaching/learning endeavor in music. Students are required to complete four major uating instructional programs in elementary Open to Music majors only. papers dedicated to the aforementioned issues music education. Lecture, workshop, and sim- Social Studies and present them during seminar sessions. ulated teaching sessions. Prerequisite: Matriculation in the MAT in Music MU 451 B Assigned readings and the keeping of a note- book devoted to current events in education program. Psychology of Music Teaching II are required. Students are granted release time MU 554 B 2 credits, 2 hours from class to complete research papers and are Secondary Methods and Materials Emphasis on the application of learning theo- counselled individually to facilitate their proj- ries to practical considerations of teaching, ects. Guest speakers typically include a school 3 credits, 3 hours including motivation, learning sequence, stu- administrator, a counselor/social worker, a Concentrated study of methods and materials dent-teacher interaction, and classroom supervisor or teacher from a curricular area involved in planning, implementing, and eval- management. Developmental theories, like other than music, and related school uating instructional programs in secondary those of Piaget and Erikson, are explored with personnel. music education. Lecture, workshop, and sim- attention to selecting learning experiences in Prerequisite: Matriculation in the MAT in Music ulated teaching sessions. Prerequisite: Matriculation in the MAT in Music the music classroom. program. Open to Music majors only. program. Social Studies MU 552 MU 555 Workshop in Vocal Methods MU 499 Elementary Student Teaching 2 credits, 1 hour Internship Instruction and participatory experiences 4 credits: off campus at school placement 1-3 credits, 30-60 hours in voice theory, vocal production, teaching Taken concurrently with MU 556 and An opportunity to participate in a workplace methods, and instructional materials for use in MU 558. Offered only during the spring environment during the academic year. elementary and secondary schools. The physi- semester to students in their final semester of Students earn internship credit by completing ology of the voice is studied with reference to study. The equivalent of six weeks experience a minimum number of hours in the field principles of choral singing. Special problems at the elementary level is required to receive during the semester, and by satisfying the of the child and adolescent voice are credit for this course. Placement in schools is requirements of the sponsor, such as atten- considered. determined by the Director of Music dance, punctuality, responsibility, Prerequisite: Matriculation in the MAT in Music Education. Prerequisite: Matriculation in the MAT in Music professionalism, tasks completed. Students program. may be assigned to recording studios, radio program. stations, arts organizations, or with music pub- lishers, entertainment attorneys, music therapists, or record producers.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 183 MU 556 MU 559 Master of Music in Secondary Student Teaching Research, Evaluation, and 4 credits: off campus at school placement Technology in Music Education Jazz Studies Taken concurrently with MU 556 and 3 credits, 3 hours MU 558. Offered only during the spring The course has three foci: MU 603 semester to students in their final semester of 1. Examination of the role of research in Graduate Project/Recital study. The equivalent of six weeks’ experience music education, sources of research, analysis 3 credits, 3 hours at the secondary level is required to receive of research types and methods, and the criti- Independent research project designed to credit for this course. Placement in schools is cism of research in terms of internal and enable the student to work in depth on a topic determined by the Director of Music external criteria. of special relevance applicable to perform- Education. 2. Principles of effective evaluation strategies ance. The graduate project is evaluated in two Prerequisite: Matriculation in the MAT in Music in music education; standardized and teacher- parts: as a thesis, with the expectation that the program. constructed approaches to evaluating music student has completed extensive research in a teaching; and learning in the cognitive, psy- comprehensive manner; and as a recital, in MU 557 chomotor, and affective domains. which the student incorporates aspects of the Music Administration and 3. Study of computer applications and related project and demonstrates personal instru- Supervision technological advances relative to the mental growth. Students give presentations 3 credits, 3 hours teaching and administration of programs throughout the semester in a seminar setting, Course addresses issues and concerns of in music education. showing their progress in research and its administering school music programs: pro- Prerequisite: Matriculation in the MAT in Music application to performance. gram planning and development, budget and program. Prerequisite: Matriculation in the Master of Music finance, facilities, equipment, public relations, program. scheduling, concert planning, and related mat- MU 560 A ters. Principles and methods of effective Workshop in Instrumental MU 615, MU 616 supervision of programs and personnel consti- Methods I MIDI and Music Technology tute a second focus of the course. 2 credits, 2 hours 2 credits, 2 hours Prerequisite: Matriculation in the MAT in Music Performing on brass and percussion instru- Hands-on exploration of music technology program. ments and teaching brass and percussion in applicable to performer, composer, and elementary and secondary schools. The class arranger, with focus on fluency with MIDI MU 558 will constitute a lab ensemble for exploring sequencing including MAX to create interac- Student Teaching Seminar and methods and materials. Full class sessions tive live performance situations. Students Major Project supplemented with small-group instruction. work with modular digital multi-tracks and 2 credits, 2 hours Clinics focus on instrument care and repair, edit and create original sounds for synthe- Taken concurrently with MU 555 and instrument selection, developing beginning sizers and samplers. Hard disk recording using MU 556. Required of and limited to students instrumental programs in schools, and related Pro-Tools III and Digital Performer, SMPTE who are student teaching. Discussion and issues. and synchronization in the studio, and compo- analysis of field experiences, special work- Prerequisite: Matriculation in the MAT in Music sition and sound design for film, video, and shops, and field trips. Major paper comprises program. theater are also explored. Training in notation a thorough status study and evaluation of the software is an integral and essential aspect of programs in which each student is interning. MU 560 B the course: after the first month, assignments Successful completion of an oral exit exami- Workshop in Instrumental for all graduate courses require use of profes- nation is required. Methods II sional notation software. Prerequisite: Matriculation in the MAT in Music 2 credits, 2 hours Prerequisite: Matriculation in the Master of Music program. Instruction and participatory experiences in program. performing on woodwind and string instru- ments and teaching woodwinds and strings in elementary and secondary schools. The class will constitute a lab ensemble for exploring methods and materials. Full class sessions are supplemented with small-group instruction. Clinics focus on instrument care and repair, instrument selection, developing beginning instrumental programs in schools, and related issues. Prerequisite: Matriculation in the MAT in Music program.

184 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 MU 617 MU 624 Music Ensembles Advanced Transcription Composing for Performers and Analysis 2 credits, 2 hours BM and MM students participate in a range of 3 credits, 3 hours A dual emphasis–on acoustic instruments and ensembles selected for their diversity of style Accurate notation, transcription fluency, and on technologies–exposes students to a variety and instrumentation, designed to present recognition of theoretical concepts are devel- of professional composing situations, varied musical experiences. Each ensemble is oped through a regime of continual rigorous including large jazz ensembles, fusion, directed by a faculty artist expert in the assignments–all designed to further advance acoustic/electronic hybrids, films, videos, selected idiom. skills in ear training and theory. Projects begin musical theater, and jingle writing. Techniques with single-line melodies in varying instru- using MIDI, MAX, and electronic composi- MU 761 mental registers and progress through tion are explored. Faculty and guest Handbell Choir advanced rhythms and chord progressions to composers present workshops on their own 1 credit complete arrangements and compositions. approaches. Students learn to use the Permission of instructor is required. Sources include bass lines, synthesizer recording studio as an instrument and use sequences, pop recordings, jazz improvisa- notation software for score and part prepara- MU 762 tions, and drum solos. Students learn tion. Student works are rehearsed and Chamber Singers Ensemble techniques and performance practices of performed by graduate and advanced under- 1 credit varying styles and periods, and then perform graduate ensembles. Permission of instructor is required. transcribed parts and solos. Prerequisite: Matriculation in the Master of Music Prerequisite: Matriculation in the Master of Music program. MU 764 program. MU 625, MU 626 Small Jazz Ensemble MU 620, MU 621 Graduate Improvisation I, II 1 credit Permission of instructor is required. Graduate Professional Internship 2 credits, 2 hours Required of all MM in Jazz Studies majors. 1 credit, 15 hours/semester Improvisational styles, techniques, and Provides hands-on, sitting-in experience in a devices are studied. Intervallic improvisation, MU 765 variety of professional settings–rehearsals, modern triad improvisation, and advanced New Music Ensemble performances, meetings with producers, and pentatonic concepts are addressed, as well as 1 credit in-studio projects such as recording, study of the pioneers of jazz improvisation Permission of instructor is required. arranging, or project coordination. The pro- through recorded solos that mark turning gram is developed by the graduate advisor and points of improvisation. Topics include MU 772 major teacher in conjunction with the student melody embellishment, improvising in Chorus to select topics and experiences most relevant phrases, silence, time-feel, pacing, syncopa- 1 credit and beneficial to that particular student’s tion, chord tone soloing, dynamics, Permission of instructor is required. education. non-harmonic triads, contracting and Prerequisite: Matriculation in the Master of Music expanding chord duration, tri-tonic cells, sus- MU 774 program. taining peak points, and unaccompanied Large Jazz Ensemble soloing. 1 credit MU 622 Prerequisite: Matriculation in the Master of Music Permission of instructor is required. Graduate Arranging program. 2 credits, 2 hours Emphasis is on effective writing in various MU 627, MU 628 Private Lessons contemporary styles and building on basic Graduate Forum arranging skills, with a focus on specific 1 credit, 1 hour The following courses are open to Music arranging techniques such as writing effec- Seminar where various aspects of study, majors only. tively for the rhythm section, horn voicings, including musical development and accom- sax soli, and contemporary fusion styles. plishment, are correlated with critical, MU 191 A/B Arrangements are studied in score format and aesthetic, and historical components. Major Lessons (Vocal) aurally, and then techniques are applied to stu- Additionally, artistic and professional issues 3 credits dent projects. are researched and discussed, and guest artists Prerequisite: Matriculation in the Master of Music and professionals conduct master classes and MU 192 A/B program. workshops. A module on research techniques Major Lessons (Instrumental) is included. 3 credits Prerequisite: Matriculation in the Master of Music program. MU 193 A/B Major Lessons (Composition) 3 credits

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 185 MU 291 A/B PF 203 Major Lessons (Vocal) Media Arts Portfolio Documentation 3 credits 1.5 credits, 3 hours Prerequisite: MU 191 B. The use of photography to create a portfolio of Photography/Film/ artwork, exhibitions, and installations is nec- MU 292 A/B Video/Animation essary for artists in all visual media. Students Major Lessons (Instrumental) will learn how to photograph two- and three- 3 credits PF 125 dimensional artwork in a studio setting and on Prerequisite: MU 192 B. Freshman Photography location. Instruction addresses a wide range of issues including: artificial and natural lighting, MU 293 A/B 1.5 credits, 3 hours An introduction to fundamental techniques film-based and digital camera operation, Major Lessons (Composition) used in black-and-white photography, image processing techniques, and output 3 credits including camera operation, developing, and options. By participating in lectures, demon- Prerequisite: MU 193 B. printing. Lectures and presentations on the strations, field trips, and shooting assignments, students will acquire the skills MU 391 A/B technical aspects of photography as well as the creative and conceptual aspects related to necessary to create a coherent visual portfolio Major Lessons (Vocal) the field. Demonstrations on the production of of their work. 3 credits photograms and pinhole images, the use of the Prerequisite: FP 111 or FP 121, or by permission of Prerequisite: MU 291 B. copy stand and slide film, and a brief descrip- the department. MU 392 A/B tion of different camera formats. PF 209 Major Lessons (Instrumental) PF 127 Photography for Illustrators 3 credits Freshman Animation 3 credits, 6 hours Prerequisite: MU 292 B. 1.5 credits, 3 hours Introduction to basic concepts and techniques of black-and-white photography, including MU 393 A/B An introduction to the basics of animation, with an emphasis on the development of story- camera operation, developing, and printing, as Major Lessons (Composition) telling capabilities. Inventive studio projects well as photographic digital imaging. 3 credits explore production techniques used both in Emphasis is placed on film selection and Prerequisite: MU 293 B. experimental and character animation. In addi- lighting for both the studio and environmental shooting. The fundamentals of PhotoShop are MU 491 A/B tion, an historical overview is provided through film screenings and group discussion. employed for digital image manipulation. Major Lessons (Vocal) Lectures and projects are designed to provide 3 credits PF 128 the tools necessary for illustrators who wish to Prerequisite: MU 391 B. Freshman Film use photography in their work. Prerequisite: FP 111 or FP 121, or by permission of MU 492 A/B 1.5 credits, 3 hours A short survey of film and video production, the department. Major Lessons (Instrumental) with an emphasis on the discussion of the PF 210 A 3 credits artistic possibilities inherent in this medium. Introduction to Film I Prerequisite: MU 392 B. Topics will cover elements of narrative, the 3 credits, 6 hours MU 493 A/B poetics of film (early historical experiments, dream form, and visionary film), the docu- A hands-on introduction to the principles and Major Lessons (Composition) mentary idiom (propaganda, social analysis, techniques of media production: shooting 3 credits and political activism), video as an art form 16mm film, developing a sensitivity to the Prerequisite: MU 393 B. (technology, fine art video, and performance nuances of movement, understanding lighting and exposure, composition, and the logic of MU 592 A/B art), and kinetic design in the commercial sector (text and moving image design, and editing. A survey on the historical and aes- Major Lessons (Graduate) kinetic structure in television commercials). thetic development of the medium in order to 3 credits Students write two short papers and prepare a expand the students’ sense of the possibilities Prerequisite:Admission to the MM program. treatment for a work in film or video. Studio of media. assignments concentrate on storyboard devel- Prerequisite: FP 121, or by permission of the opment and group shooting projects. department.

186 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 PF 210 B PF 212 B PF 219 Introduction to Film/Digital Video Introduction to Animation II Character Layout and Design 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours This course offers an introduction to the basic The student is introduced to under-the-camera Designing characters, backgrounds, pans, and practices of digital video editing and further animation using varied mediums such as creative camera moves for the animated scene. creative exploration of the art of mixing cutouts, sand, and painting-on-glass. All proj- Design styles and techniques are explored for images. Students perform timing, staging, and ects are shot on 16mm using the Bolex their potential in developing a wide range of blocking exercises to develop a feel for direc- camera. The final project may consist of any character types, traits, moods, personalities, tion, experiment with more advanced film medium selected by the student. A lab fee is and attitudes. Students learn to lay out scenes strategies, learn to edit digital video, and required for this course in order to offset the around character action, work with camera investigate relationships between sound and cost of film stock and lab expenses. fields, deal with issues of composition and image. A final project intergrates these explo- Prerequisite: PF 212 A. Sophmore film majors are perspective, and create moods through layout. rations creatively. exempt from prerequisite. A final project requires the development of an Prerequisite: PF 210 A or permission “Animator’s Bible,” a production workbook of the department. PF 216 for the student’s personal film portfolio. Computer Animation I Prerequisite: PF 212 A or by portfolio review. PF 211 A 3 credits, 6 hours Introduction to Photography I Introductory course in computer animation. PF 220 3 credits, 6 hours Emphasis is placed upon developing the stu- Introduction to Documentary Introduction to basic concepts, processes, and dent’s expertise with computer hardware, Photography techniques of black-and-white photography, software tools, and the video utilized in cre- 3 credits, 6 hours including camera operation, exposure, dark- ating electronic images that move. Introduces students to documentary photog- room procedures, and lighting, and the Prerequisite: FP 111 or FP 121, or by permission of raphy as it exists in the digital age. Topics controlled applications of these techniques. the department. covered include the history of documentary Emphasis on the normative standard of photo- photography, 35mm camera operation, digital graphic rendering. PF 217 camera operation, and the ethical, legal, and Required for admission to all other Photography Color Concepts strategic issues of contemporary journalism. courses. 3 credits, 6 hours Students create documentary photographic Prerequisite: FP 111 or FP 121, or by permission of Introduction to methods of color shooting and projects utilizing both traditional and digital the department. printing leading to an exploration of the tech- photographic techniques. nical and creative possibilities of color in Prerequisite: FP 121 or MM 110. PF 211 B photography. Processes covered include Introduction to Photography II negative and transparency films, filtration, PF 310 A/B 3 credits, 6 hours chemical printing, and digital color controls Junior Cinema Production I, II While consolidating the student’s control of with PhotoShop. 3 credits, 6 hours the medium, this course introduces the student Prerequisite: FP 121 or by portfolio review. Production techniques in actual filming situa- to a departure from normative photographic tions, starting from the script through rendering, techniques, and modes of expres- PF 218 budgeting, script breakdown, camera work, sion and form. Strong emphasis on Creative Sound and editing, to the finished release print. manipulation of materials, including tradi- 3 credits, 6 hours Students are expected to execute specific tional photographic methods as well as an Exploration of the creative use of sound as a assignments in lighting, editing, and sound, introduction to computer manipulation. primary artistic medium. Topics include sound and are introduced to synch-sound procedures. Prerequisite: PF 211 A, PF 209, or PF 220, or by and hearing, microphones and recording, tape Prerequisites: PF 210 B for PF 310 A. presentation of portfolio. editing and manipulation, sound aesthetics PF 310 A for PF 310 B. and production styles, voice and narration, PF 212 A signal processing and sound manipulation, PF 311 A/B Introduction to Animation I and production formats. Through audio pro- Junior Photography Workshop 3 credits, 6 hours duction projects, students gain insights into 3 credits, 6 hours Through a series of exercises concentrating on new ways of using sound, both on its own and Exploration of photographic imagery through timing and movement, the student acquires a with other media. a series of problems aimed at personal vision basic understanding of animation. Sound is Prerequisite: FP 121 or permission and creative growth. introduced for the final project, which consists of the department. Prerequisite: PF 211 B for PF 311 A. of a short, animated film shot on 16mm using PF 311 A for PF 311 B. the Oxberry camera. Prerequisites: FP 110 or FP 120.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 187 PF 312 A/B PF 320 PF 325 Junior Animation Workshop I, II Narative Sound Production Sound Design and Technology 3 credits, 6 hours 3 credits, 6 hours 3 credits, 6 hours A series of advanced drawn-animation exer- Students in this course explore creative sound A hands-on exploration of various technical cises culminating in a one-minute animated design in finished films with instruction and materials and procedures that complement the film. A short, additional film is produced practice in the use of sound recording equip- animator’s production skills, including video during the second semester. Aspects of career ment, sound transfers, building and editing editing and post-production technologies, concerns in animation are introduced: grant multiple synchronous sound tracks, and analog and digital sound mixing and pro- writing, resumés, budgets, and the process of preparing for the sound mix. Students work in cessing, film editing and track preparation, entering film festivals. The student also groups to create and complete a five-minute Oxberry Animation Stand use, and computer receives detailed instruction on operating the sync sound film that incorporates the concept image processing. Oxberry camera. of “sound design.” Prerequisite: PF 212 B. Prerequisite: PF 212 B for PF 312 A. Prerequisite: PF 210 B. PF 312 A for PF 312 B. PF 326 PF 322 Advanced 3D Computer Animation PF 313 A/B Experiments in 3 credits, 6 hours Basic Photography Studio I, II Advanced Digital Video An exploration of the aesthetic and technical 3 credits, 6 hours 3 credits, 6 hours possibilities of using two-dimensional com- Familiarizes the student with the tools, tech- An intermediate level course in digital audio positing and motion software and niques, and language of studio photography. and video production. In the context of screen- three-dimensional modeling and animation Entails extensive use of the 4ll x 5ll view ings and readings drawn from the history of software as a means of creating character and camera. The first semester deals exclusively experimental media, students will learn to use graphic animation. with black-and-white materials: sheet film various digital and optical strategies to Prerequisite: PF 316 or by permission exposure, hand processing, and printing large- approach a variety of thematic issues. The of department. format negatives. The second covers the course is the venue for the production of short, introduction of color transparency films and aesthetically energized works for a variety of PF 327 strobe lighting. screening environments, and encourages col- Moving Art: Animation Theory Prerequisite: PF 211 B for PF 313 A. labortation with Dance and Muisc majors. and Production PF 313 A for PF 313 B. Prerequisite: PF 210 B. 3 credits, 6 hours The aesthetics of animation and how the PF 315 PF 323 design and structural elements of frame-by- Digital Photography Workshop Selected Topics in Photography frame filmmaking differ from traditional 3 credits, 6 hours 3 credits, 6 hours cinema. Analytical, theoretical, production, Concentrates on the production of creative Study of one or more various media, methods, and historical approaches will be brought to digital photography; students are encouraged or problems in still photography to be offered bear in the inquiry. to experiment with new tools and techniques. according to the instructor’s interests and stu- Prerequisite: PF 212 B or by permission Film and print scanners, CD-ROM discs, and dents’ requests. Topics include: portraiture, of department. digital cameras are used to produce images documentary photography, digital imaging, that are critiqued on the basis of both technical color manipulation, photographic illustration, PF 328 proficiency and aesthetic accomplishment. and photo-based mixed media. Selected Topics in Animation Portfolios are printed on digital output Prerequisite: PF 211 A or by portfolio review. 3 credits, 6 hours machines, silver-based photo materials, and Exploration of media used in animation. The four-color offset. Frequent readings, lectures, PF 324 content of each course offering will reflect the and site visits expand the ongoing studio Film Forum: Selected Topics professional interests of the instructor. Topics experience. 3 credits, 6 hours include clay and puppet animation, Prerequisite: PF 211 B, or PF 217, or Concentrated study of a particular area of character layout and design, and narrative sto- by portfolio review. film, video, or animation. Courses deal with rytelling development. specific issues and have included: film theory; Prerequisite: PF 212 B, or permission PF 316 seminars in sound; media, theater, and per- of the department. Computer Animation II formance; history of video art; and history of 3 credits, 6 hours animation. PF 330 Advanced course in computer animation, Prerequisite: PF 210 B or PF 212 B, or permission Clay and Puppet Animation which builds upon the student’s personal of the department. 3 credits, 6 hours exploration of the electronic multimedia envi- The technique of animating handmade three- ronment established in PF 216. An integration dimensional characters. Topics include puppet of digital audio, video, and two- and three- construction (clay and mixed media), set dimensional software tools is emphasized. design and construction, and lighting. The his- Prerequisite: PF 216, PF 322, or MM 222, or per- tory of puppet animation is also studied mission of the department. through film screenings and lectures, with a special emphasis on European filmmakers and nonverbal storytelling. Prerequisite: PF 212 A.

188 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 PF 331 PF 413 PF 424 Image and Performance Professional Practices Time: A Multidisciplinary Seminar 3 credits, 6 hours 3 credits, 3 hours 3 credits, 3 hours For artists and performers of all disciplines. Study of the practice of professional photog- The concept of time considered from a multi- An intensive cross-disciplinary workshop in raphy, with attention to various career disciplinary perspective, drawing on readings which the students create their own short per- opportunities, portfolio presentation, business in philosophy, literature, psychology, soci- formance works using fusions of video, practices, professional ethics, photographic ology, and film theory. Relevant works in film animation, dance, motion, and sound to law, and personal objectives. A variety of pro- and video are screened. Students are respon- explore the interactions between visual media fessional guests visit the course. sible for a final term paper that interrelates and the performing arts. Prerequisite: PF 311 A or PF 313 A. two or more of the readings with one of the Prerequisite: Sophomore standing in any screened works. major department. PF 415 A Prerequisite: PF 310 B or PF 312 B. Critical Issues in Photography PF 332 3 credits, 6 hours PF 499 Video and Animation Technology Concentrated study of the concepts of photo- Internship 3 credits, 6 hours graphic criticism. Extensive reading, writing, 3 credits, 90 hours/semester This course will introduce students to princi- and discussion of contemporary photographic Internship program in which the student is ples of animation and a variety of means of literature, exhibitions, and trends is required. placed in one of several professional situa- recording and manipulating media and the The course is an in-depth examination of the tions. Placements in photography may include conceptual possibilities available through photographic medium from a historical and assisting in professional studios, practice in these means. The course will examine the critical viewpoint. The course requires field biomedical photography laboratories, and technical and aesthetic principles of off-line trips to galleries and museums, and attendance curatorial positions in galleries, among others. video post-production, sound processing and at visiting lecturer events to place current Placements in film and animation are spon- mixing, and non-linear digital editing. trends in photography in a critical context. sored by local independent production houses Prerequisite: Multimedia majors or permission of Prerequisite: PF311A or permission of the and television stations, design firms, and free- the instructor. department. lance animation artists; students of film may assist in location shooting, set production, PF 410 A/B PF 415 B editing, casting and scripting, and a myriad of Senior Cinema Production I, II Senior Photography Seminar other practical tasks. 3 credits, 6 hours 3 credits, 6 hours Prerequisite: PF 211 B (for Photo internships); Each student produces an independent Analysis and study of contemporary photo- or PF 210 B (for Film/Video internships); thesis film. graphic practices and trends. Extensive or PF 212 B (for Animation internships). Prerequisite: PF 310 B for PF 410 A. reading, writing, and discussion with attention Open to Media Arts majors only. PF 410 A for PF 410 B. to current showings and exhibitions is required. The course requires field trips to gal- PF 411 A/B leries and museums, and attendance at visiting Senior Photography Workshop lecturer events to place current trends in pho- 3 credits, 6 hours tography in a larger historical and critical Students work on long-term individual proj- context, and to assist students in placing their ects or shorter-term problems to develop own work within the canon of photographic technical, aesthetic, and conceptual mastery of expression. the medium. The course culminates in a group Prerequisite: PF 415 A or permission of the thesis exhibition and production of an department. individual portfolio. Prerequisite: PF 311 B, or PF 313 B for PF 423 PF 411 A. PF 411 A for PF 411 B. Professional Practices in Film/Digital Video PF 412 A/B 3 credits, 6 hours Senior Animation Workshop A series of mini seminars in various aspects of 3 credits, 6 hours professional film and video production. Topics Directed independent production of a short to be addressed include: studio operations, film project in an idiom of the student’s advanced lighting, advanced sound recording, choosing; additional production of a VHS sound mixing, and gaffer and grip responsibil- video portfolio composed of several short ani- ities. Independent producers will be brought in mated sequences that each student will be able to conduct workshops on topics of interest. to use when applying for work as either a free- This course supplements, but does not replace, lance animator or for employment with an Media Arts required courses. animation company. Prerequisite: PF 310 A or permission of the Prerequisite: PF 312 B for PF 412 A. department. PF 412 A for PF 412 B.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 189 PR 204 PR 224 Printmaking/ Screenprinting/Etching Book Arts: Structures 3 credits, 6 hours 1.5 credits, 3 hours Book Arts The graphic qualities of expression in screen- Historical book forms serve as models and as printing and etching/intaglio are presented departure points for innovative new work. All Printmaking/Book Arts classes are through historic and contemporary examples Students are made familiar with traditional open on a studio elective basis if the pre- and demonstration of the methods, which binding techniques, encouraged to explore requisites are met and space is available. convey ideas in these two media. Various new applications, and to experiment by com- stencil processes from direct-drawn to photo- bining images and text into unique book PR 102 graphic and computer-generated are explored structures. Some of the structures presented Freshman Screenprinting in screenprinting with water-based opaque and are signature binding, Japanese binding, 1.5 credits, 3 hours transparent inks. Handwork on the metal plate accordion structure, pop-up structures, and An introduction and investigation of various includes drawn drypoint, etching, and tonal tunnel books. stencil methods, based on three primary types processes. Emphasis is placed on the under- May also serve as a follow-up course for of screen stencils–cut paper, blockout/resist, standing of the qualities of these methods and students who have completed PR 223 and photo emulsion, using water–based inks development of personal ideas through their Bookbinding Methods. on both paper and fabric. Emphasis is placed combination. on the acquisition of personal expression and PR 300 technical skills, within the capabilities of PR 211 Lithography screenprinted opaque and transparent colors, Etching/Monotype 3 credits, 6 hours and the use of editions in collaborative class 1.5 credits, 3 hours All of the basic techniques of drawing, image image exchange. Additionally, the various Individual expression with the graphic quali- making, and printing that are necessary to pro- media unique to printmaking are shown and ties of etched and directly drawn ideas created duce hand-pulled black-and-white lithographs discussed, to introduce the beginning student on the metal plate by hand or acid etching in from lithographic stones and plates will be to the wide possibilities of the expression color and monochrome. Processes also experienced. An emphasis will be placed on inherent in printmaking. include printing from drawing and painting visual expression and development of ideas directly on plexiglass and metal plate with oil through group discussions and critiques. PR 103 and water-based materials. Freshman Etching PR 301 1.5 credits, 3 hours PR 222 Printmaking Workshop This printmaking course will introduce the Non-Silver Processes 1.5 credits, 3 hours hands-on processes used on metal plates to 1.5 or 3 credits, 3 or 6 hours A continuation of the development of skills create images with line, tone, and texture. Students are introduced to the basic tech- in all media such as relief, intaglio, and Color and monochromatic idea development niques of non-silver by building images in screenprinting by concentrating on one or a is encouraged in this print medium that is a color with layers of brushed-on, light-sensitive combination of them, including non-print- favorite of historic and contemporary artists. A emulsion. Light-resists can range from pho- making methods. Investigation of the class portfolio of prints will be exchanged by togram objects to drawings and paintings to combination of media, including three-dimen- the participants. film or paper negatives. Processes covered are sional forms and unorthodox uses of materials VanDyke brown, cyanotype, gum bichromate, and techniques, with an emphasis on PR 201 and palladium printing. integration. Relief/Monotype Prerequisites: PR 201 and PR 204. 3 credits, 6 hours PR 223 Introduction to the graphic and expressive Bookbinding Methods PR 306 qualities of woodcut, linoleum, and collograph 1.5 credits, 3 hours Print Study Seminar I processes printed in monochrome and color. A workshop class familiarizing the student 1.5 credits, 3 hours, alternate weeks Monoprinting ideas from direct drawing and with the characteristics and handling qualities Students meet at the Philadelphia Museum of painting on plexiglass and metal plate are of materials used in various book structures. Art Print Study Room to discuss and study also explored. Some of the structures covered include pam- original prints and rare books from the phlet binding, multi-signature books, museum collection. Masters of the 15th PR 202 clamshell boxes, portfolios, accordion struc- through the 18th centuries are introduced and Screenprinting tures, and oriental binding. Emphasis will be researched. Printmaking processes that par- 1.5 credits, 3 hours placed upon both the use of archivally sound allel the material covered are demonstrated Introduction and investigation of stencil materials and the use of these structures as and practiced in the printmaking studios. methods in screenprinting with water-based vehicles for the students’ creative expression. inks. Idea development and acquisition of visual skills in expression in color, line, and form through drawn, photographic, or com- puter-generated stencil processes.

190 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 PR 307 PR 333 PR 420 Book Arts: Concept and Structure Attitudes and Strategies: Thesis Workshop 3 credits, 6 hours Printmaking 3 credits, 6 hours An opportunity to explore the integration of 3 credits, 6 hours Develops a body of work in preparation for type and relief image in unique and editioned While the first semester of this course concen- portfolio and exhibition presentation. An book structures. Hands-on experience in trates on general issues of contemporary emphasis is placed on the development of dealing with composition (metal) type and artists’ practice, it continues in the second ideas and content of each student’s work sup- computer typesetting is on an intermediate semester with a focus on the printmaker’s ported by a series of individual and group level. Methods of relief printing are explored world. The student creates many prints critiques by faculty and visiting artists. The and cultivated. Wood engraving, pho- exploring a variety of printmaking methods. student is expected to participate in group topolymer relief, color reduction printing, and Drawings to clarify the direction that a pos- exhibitions as well as a solo exhibition, and to related traditional and contemporary methods sible later series of prints might take are present a professional portfolio of work. of multiple image making are pursued. Special another expectation, as well as completed Prerequisites: PR 201, PR 204, PR 300, emphasis on development of a personal visual drawing projects. Students should take at least and FA 333 A. language. one area of printmaking and develop technical skills beyond elementary proficiency. All three PR 421 PR 308 mediums: relief, intaglio, and planographic Collaborative Printmaking Advanced Lithography Workshop are to be used in making prints this semester. 1.5 or 3 credits, on tutorial basis, 3 or 6 hours 3 credits, 6 hours Combining methods, particularly for the addi- Involvement in the business, technology, and Opportunity for further investigation and tion of color, is urged. experience of printing limited editions for fac- development of lithographic image making, ulty, student, or professional artists by guiding including photographic techniques and multi- PR 400 the artist in preparation of the idea, then color printing. Editioned prints of greater Advanced Workshop proofing and printing the edition. Advanced scope and complexity are undertaken, consis- 3 credits, 6 hours students only; demonstration of mark-making tent with the student’s interest and experience. Development of ideas, images, and techniques and editioning abilities. Prerequisite: PR 300. while establishing direction and personal orig- inal expression. The workshop atmosphere PR 425 PR 322 permits a comfortable handling of all proce- Book Production Advanced Non-Silver Processes dures and printmaking processes. Students are 1.5 or 3 credits, 3 or 6 hours 1.5 or 3 credits, 3 or 6 hours encouraged to be involved with adjacent The development and production of a printed Continued development of image and skills in expressive means such as drawing, painting, book or portfolio of works: design and format- combinations of non-silver processes. sculpture, photography, and crafts. ting of a publication including investigation of Prerequisite: PR 222. Prerequisites: PR 201, PR 204, PR 300, sequence, page design, and binding possibili- and FA 333 A. ties; and hands-on experience in the PR 326 preparation of images for press production, Introduction to Offset Lithography PR 406 pre-press techniques, and assisting the Master 1.5 or 3 credits, 3 or 6 hours Print Study Seminar II Printer in the printing. All work is produced in Develops skills in image preparation and 1.5 credits, 3 hours, alternate weeks the Borowsky Center for Publication Arts, the printing techniques using offset lithography. The historical and conceptual context of University’s state-of-the-art offset lithography An emphasis placed on personal imagery. prints, portfolios, and book arts of the 19th facility. Students may choose to collaborate on Hand-drawn, photographic, and digital and 20th centuries is studied at the projects or work independently. methods of image making are investigated. Philadelphia Museum of Art. Written and Prerequisite: Recommendation from the partici- printed expression of the ideas and processes pant’s major department chair is required. PR 327 involved are integrated into this course of Advanced Offset Lithography study. 1.5 or 3 credits, 3 or 6 hours A continued investigation of offset lithography. PR 412 Prerequisite: PR 326. Digital Printmaking 3 credits, 6 hours Working in screenprinting, etching, relief, or lithography, students will bring digital imagery into the printmaking process. Emphasis is on the intergration of idea, process, and the incorporation of computer- generated material. Investigation will continue into printmaking processes on an advanced hands-on level in terms of technical under- standing and the development of imagery. Prerequisite: Introductory class in one or more printmaking processes.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 191 MFA Book Arts/ PR 612 A/B PR 700 A/B Book Arts Studio Colloquium: Professional Practices Printmaking A 3-4.5 credits, 9 hours 1.5 credits, 3 hours, alternate weeks B 3 credits, 6 hours Professional practices and issues related to the PR500 A series of studio courses exploring concep- fields of printmaking, book, and publication Graduate Papermaking tual concerns intrinsic to the creation of a arts are explored through discussions, lectures, 3 credits, 6 hours book. The student learns to incorporate calli- and field trips in the first semester. In the Graduate Papermaking is an advanced studio graphic, handset, or computer-generated second semester, the focus is on the comple- course based on the in-depth involvement with letterforms with images in unique and edi- tion of the individual’s written thesis handmade paper as a creative artistic medium. tioned books. Emphasis on proficiency in requirements. Each thesis candidate prepares a Digital slide lectures and demonstrations on process and the creation of a personal visual resumé, an artist’s statement, and presents a Western and Japanese pulp preparation, sheet language. Focus on achieving a strong founda- slide lecture to be placed on record in the formation, pressed and drying techniques will tion in technical and conceptual skills. University Library. be presented. Students will create papers and Frequent faculty and visiting artist critiques Prerequisite: PR 600 B. images using a variety of handmade pulps and encourage an evolution in ideas and imagery. fibers. Book structures unique to the hand- PR 710 A/B made paper process and the creation of unique PR 611 MFA Thesis Studio papers specifically for prints and books will Non-Toxic Printmaking Methods 3-6 credits, 6-12 hours be presented. Students will engage in indi- 3 credits, 6 hours A continuation of book and printmaking proj- vidual projects utilizing this exciting medium A range of printmaking media using non-toxic ects is combined with related visual concerns to enhance their artistic development as well processes and materials. Designed for grad- in preparation for the required MFA Thesis as broaden and enrich their educational goals. uate students who are experienced artists with Exhibition to be presented during the final an understanding of their personal imagery semester. The MFA candidate develops an PR 600 A and approach to visual expression, but who individual course of study and defines the Colloquium: Text and Image are not necessarily proficient printmakers. projects in a written contract. A thesis com- 1.5 credits, 3 hours Students will be offered a number of solutions mittee to advise the student through the thesis An understanding of language and verbal con- to working in the studio, solvent- and acid- exhibition process is chosen during the fall structs enables the individual to explore the free. Topics covered will include intaglio semester. The evolution of ideas and imagery relationship between text and imagery. (using water process photographic plates), is encouraged through frequent faculty and Emphasis is placed on the individual’s per- drypoint, relief, collograph, monotype, and visiting artist critiques. sonal vision throughout the program’s course screenprinting. Prerequisite: PR 610 B. of study. PR 623 A/B PR 711 A/B PR 600 B Bookbinding MFA Thesis Studio: Colloquium: History of the Book 1.5 credits, 3 hours Thesis Exhibition 1.5 credits, 3 hours Basic book structures are explored in the first 3 credits, 6 hours Hands-on study of rare books and manuscripts semester with emphasis on sound conserva- from antiquity to the present, with discussions tion techniques and good craftsmanship. In the PR 723 A/B dealing with their structural, historical, and second semester historic book structures Bookbinding artistic significance. The class meets at the serve as models and departure points for inno- 1.5 credits, 3 hours Library Company of Philadelphia, with field vative bindings. Continued investigation of the book structure trips to local special collections. at an advanced technical level. Individual Prerequisite: PR 600 A. PR 626 attention to developing creative solutions to Offset Lithography support book content will start in the first PR 610 A/B 1.5-3 credits, 3-6 hours semester. Through critiques and individual Book Arts Studio: Color/Mark Offers the student hands-on experience with instruction, the final semester is devoted to 3 credits, 6 hours offset lithography as an artist’s medium. The developing structures that support thesis work. Provides the student with an opportunity to primary focus is on the creation of personal Prerequisite: PR 623 B. explore a broad range of image-making imagery (photographic and/or hand-drawn) approaches. Emphasis on mark-making with a for prints and books. The course enables stu- number of instruments and media, the use of dents to take advantage of state-of-the-art color as a structural basis for composition, production methods and develop skills in pho- and the compositional and expressive use of tomechanical processes, platemaking, and letter forms. color printing.

192 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 PT 219 PT 236 Painting/Drawing Watercolor Figure Composition 1.5 credits, 3 hours 1.5 or 3 credits, 3 or 6 hours PT 101 A course in which the preferred medium is A drawing course emphasizing the develop- Freshman Painting transparent watercolor, the particular charac- ment of images using multiple figure 1.5 credits, 3 hours teristics of which are explored. Both arrangements. Assignments are designed to Primarily an introduction to the decisions, perceptual and non-perceptual approaches foster awareness of the significance of poses general methods, and problems of painting. introduced. and groupings relative to formal design virtues, narrative, and symbolism. Students are introduced to oil painting with PT 225 both still life and figurative subject matter. Figure Drawing PT 237 Technical instruction related to the broad Representational Painting image possibilities in painting. Students work 1.5 or 3 credits, 3 or 6 hours from setups, models, and landscapes. Students work from the clothed and nude 3 credits, 6 hours model and are introduced to the range of A studio course addressing traditional and PT 124 approaches relevant to the act of direct obser- contemporary concepts and approaches to rep- Freshman Drawing vation. This course encourages the students to resentational images. Special emphasis is 1.5 credits, 3 hours clarify what they are looking for when they placed on the relation between content and Designed to increase the beginning student’s are drawing the human body. Proportion, form. Exploration in color, space, texture, awareness of drawing as an expressive picto- anatomy, psychology, posture, kinetics, shape, composition, and style will be evalu- rial form. It is meant to enrich rather than weight, volume, tactility, and environment are ated in the context of intention, aspects of duplicate the Foundation Drawing experience. a few of the considerations that have an recognition, and precedent. Paintings will be Included in the course of study is an investiga- impact on the diverse ways in which figure generated out of direct observation of nature tive perceiving and representing of objects and drawings can be made. and human models as well as from the stu- dents’ own resources. Projects may focus on scenes, mark-making as a conveyor of feel- PT 226 ings, sensations, and ideas, and compositional contemporary prototypes (paintings since Abstract Drawing and stylistic strategies that present meaning. 1945), specific domains such as American The emphasis is always on the awareness of 3 credits, 6 hours Portraiture, or paradigms from the entire lin- options for expression rather than on pre- An assignment/critique format, which exam- eage of East/West traditions of scribed systems of drawing. ines the nature of abstraction in the context of representational art. drawing disciplines. Options in media, tools, PT 202 A/B methods, and formats are considered in rela- PT 238 Sophomore Painting tion to the purposes of a given project. In Abstract Painting 3 credits, 6 hours general, abstraction calls for an appreciation 3 credits, 6 hours Studio work introduces the student to the of the intrinsic properties of the materials used The genesis of abstraction can be nature, idea, domain of painting through projects that cover in a work, the formal characteristics of tool- or emotion. An abstract painting is one in not only the basic elements of form, color, and markings, and the significance of pictorial which the pictorial form is primarily a product technique, but also the basic conceptual chal- structures. of invention and imagination. It may or may not reflect a reality outside itself. Assignments lenges unique to painting. Students are PT 227 exposed to the origins and purposes of investigate a range of concepts, sources, and Figure Painting painting and the range of possibilities offered procedures. 3 credits, 6 hours by both traditional and contemporary PT 264 approaches. Painting projects that develop awareness of the many issues to be considered in creating Mixed Media Drawing and Painting PT 211 forms that represent the human being. 3 credits, 6 hours Painting Studio Working from live models as well as from A diversity of drawing and painting media and 1.5 credits, 3 hours other visual sources, including those of pho- methods, including collage and construction, A general study of painting subjects, such as tography and fine-art masterworks, students are explored, discovered, invented, and inter- the still life, landscape, the city, and the investigate the variety of conceptual and sty- mixed in order to develop a versatile human figure and its environs. This course listic possibilities in depicting the human repertoire of studio skills. figure. Concerns for gesture, weight, color, often includes a subtitle, such as Figure in the PT 269 Landscape, which defines the thematic basis proportion, scale, apparel, portraiture, space Collage: The Constructed Image for the studio projects. and light, composition and narration, can all be a part of the circumstances in which the 3 credits, 6 hours PT 213 human figure is the center of interest. Studio projects are assigned that promote the development of images through the aggrega- Anatomy and the Figure PT 233 1.5 credits, 3 hours tion of fragments. Collage as a principle of Landscape Painting An opportunity to investigate the basic visual construction re-examines compositional structure of the human figure, both skeletal 3 credits, 6 hours notions of unity and harmony and can involve and muscular. Painting the traditional subjects of the land- the interaction of diverse and incongruous scape: land, city and country, water and sky, materials, methods, styles, and/or images. light and air. An examination of how these subjects can be seen and interpreted.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 193 PT 302 A/B PT 402 A MFA in Painting Junior Painting Senior Painting 3 credits, 6 hours 4.5 credits, 9 hours Each summer session begins with a Students maintain designated spaces in the Promotes the individual’s development of detailed review of the student’s previous Junior Studio where they can develop a more identity as a painter. It simulates the studio- work, assessing progress, addressing professional working routine. They are based condition that the painter is likely to problems, and planning the summer’s expected to show increasing personal initiative maintain as a professional artist. The painter is work. Ongoing individual meetings with and direction. Regular critiques on both an the architect of the place where he or she will the studio mentor are augmented by individual and group basis connect the student initiate short- or long-term projects as needed. group critiques at the beginning, middle, to the values of the past and the present, stim- Within this context, the senior painting major and end of the summer session and by ulate interest in the major questions of our consolidates and develops issues that have occasional group or individual critiques time, and provide resources for progress. This emerged from coursework and study of prior with visiting artists. Each summer’s course embraces plurality of ideas about and contemporary art. course concludes with planning for work painting and, linked with the goals of FA 333, One-on-one weekly critiques from faculty, to be continued on an independent study advocates a spirit of experimentation and monthly senior group critique, and periodic basis during the academic year. research. critiques from visiting artists ensure the stu- Independent studio work is assessed at dent’s diverse responses to recently developed weekend critiques held at periodic inter- PT 334 work. The senior painting faculty may assign vals and at the end of the fall and spring Junior Drawing specific projects if the student’s initiative semesters. 3 credits, 6 hours requires broadening or focus. An advanced studio in drawing extending Prerequisites: PT 302 B and FA 333 B. The following courses are open to students in knowledge, experience, and authority in the summer MFA program only. drawing as a form-making act in the painting PT 402 B process and as a form of expression in its own Senior Painting PT 610 right. Students will be guided through various 6 credits, 12 hours Major Studio I aspects of the uses of pictorial elements (line, Continuing the structure of PT 402 A, the 6 credits, 10 hours tonality, surface, etc.) in the making of images painting major formulates a senior thesis Evaluation of the student’s artistic involve- that express content and meaning. References project. Working with senior faculty who read ment, projecting and testing options for the to contemporary and historical sources will be and critique early drafts, the student develops direction of the student’s graduate work. investigated. a formal, written thesis and a body of artwork Open to SUMFA students only. to be presented at the end of the term to a PT 340 senior thesis panel. This panel is comprised of PT 611 Color Studies studio faculty, liberal arts faculty, and student Major Studio II 1.5 credits, 3 hours peers. 6 credits, 10 hours Studio group projects and independent proj- Further exploration of the options, with ects consider the purposes and effects of color IN 449 increased awareness of theoretical issues and organization, color perceptions, and color Crafts/Fine Arts Internship personal vision. Greater focus in the student’s theory. Color is approached as emotive, sym- 3 credits, 90 hours/semester work, with a view to completing the repertoire bolic, descriptive, and structural. Conditions for enrollment: Must be enrolled of skills and expression in the medium needed Prerequisites: Junior status. as a junior or senior in a BS or BFA program; to undertake a thesis project. must have a 2.5 cumulative GPA; and cannot Prerequisite: PT 610. PT 360 enroll for more than 18 credits, including Open to SUMFA students only. Junior Seminar those earned from the Internship during that 1.5 credits, 3 hours semester. PT 710 A discussion format aimed at investigating Open to Crafts and Fine Arts majors only. Major Studio III and understanding the content of, the motiva- 6 credits, 10 hours tions for, and the influences on contemporary Planning and initiation of a sustained body of painting. Emphasis is on exploring the theo- mature work to be presented in a thesis exhibi- ries, questions, and issues that create the tion during the following summer. intellectual context for contemporary artists. Prerequisite: PT 611. Students will be given reading assignments as Open to SUMFA students only. preparation for the seminar dialogue. Selected texts will include artists’ documents, critical See complete course listing writings, and classic essays covering such under Master of Fine Arts. areas as aesthetic principles, political and cul- tural realities, and psychological perspectives. Class sessions will emphasize group discus- sions based on viewing slides and other appropriate visual material, reading assign- ments, and various written and oral forms of student presentations. Prerequisite: Junior status.

194 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 SC 251 SC 421 Sculpture Sculpture since 1945 Metals 1.5 credits, 1.5 hours 1.5 credits, 3 hours All Sculpture classes are open on a studio Lectures, discussions, projects concerning Forming metal has contributed much to the his- elective basis if prerequisites are met and various artists, movements, concepts, philoso- tory of sculpture, particularly in the present, space is available. phies, and critical theories influencing where the idiom has become as familiar as contemporary sculpture, focusing on the cur- carving and modeling. Concurrently offering SC 101 rents since 1945. both basic and advanced technical instruction in welding and forging, using both ferrous and Freshman Sculpture SC 260 A/B 1.5 credits, 3 hours non-ferrous metals, this course is concerned Structure of the Figure An introduction to sculptural thinking and with both the technical and aesthetic aspects of methods using a variety of materials and 3 credits, 6 hours metal sculpture. processes, including modeling and fabrication. Anatomical and morphological analysis of May be repeated for credit. male and female bodies for artists through a Form-making options are undertaken that are SC 431, SC 432 especially suited to acquaint beginning stu- three-dimensional constructional method. Advanced Figure Modeling dents with the diversity of sculptural activity. Proportions, anatomic structure, surface topology, morphological variation, and the 3 credits, 6 hours SC 201, SC 202 body in movement are covered. Directed Provides an atelier to continue figure mod- Sculpture I toward two-dimensional artists as well as eling on increasingly advanced levels, and a 3 credits, 6 hours sculptors. The means by which the body’s context to help formulate a personal figurative Emphasizes the fundamental and formal salient features can be recognized from any sculptural idiom. Works are sculpted at var- aspects of sculpture. Projects are assigned to viewpoint in any pose is stressed. ious scales and independent projects are undertaken in consultation with the faculty. help the student experience and understand the SC 321 unique expressive values of mass, space, Critiques involving the meaning and sculp- Carving plane, line, and texture, along with such visual tural significance of the works are an integral phenomena as balance, rhythm, scale, move- 1.5 credits, 3 hours part of the ongoing class activity. ment, and transformation. Introduces the Introduces the student to stone carving, one of Prerequisites: FA 223 B or by permission. student to a variety of materials and tech- the basic methods of forming sculpture. May be repeated for credit. Students learn to prepare, maintain, and use niques. Assigned projects, group critiques, and SC 433 slide lectures are standard parts of this course. the tools of the carver. They are introduced to the characteristics of suitable carving mate- Projects in Figure Modeling SC 220 A/B rials. Emphasis on the exploration of the 3 credits, 6 hours Molding and Casting formal and expressive potential of carved Allows the student to move beyond modeling 1.5 credits, 3 hours stone. the figure as an academic study. Exploration Covers processes and techniques utilizing May be repeated for credit. using the figure in expressive contexts is emphasized. plaster, rubber, plastics, clays, and wax for SC 333 making hard and flexible molds and for Prerequisites: SC 202 and FA 223. Attitudes and Strategies: Sculpture casting sculpture in durable materials. May be repeated for credit. 3 credits, 6 hours Provides a thorough foundation in foundry SC 441, SC 442 practices, including wax preparation, A studio criticism course designed to increase Advanced Projects investing, pouring bronze or aluminum, awareness of the attitudes and strategies chasing, finishing, and patinating finished embodied in artworks. Concepts such as ide- 3 credits, 6 hours metal casts. alism, naturalism, expressionism, modernism, Provides a studio context where maturing, May be repeated for credit. and post modernism are explored in light of self-initiated areas of concentration in sculp- their implication for form-making methods ture can be developed to fruition on an SC 241, SC 242 and principles. Lectures, studio projects, and advanced level. Whatever the direction, a crit- Introduction to Sculpture Projects group critiques create a forum for an emphasis ical emphasis is placed through both open and 3 credits, 6 hours on sculpture. devised assignments on how materials and forms compatible to personal statements are An open studio oriented toward helping the SC 401, SC 402 development of individual initiative. How found. Sculpture III ideas are transformed into sculptural state- Prerequisites:SC 241 and SC 242,or by permission. ments through aesthetic reasoning and the 3 credits, 6 hours May be repeated for credit. Terms like site-specific, monumental, genre, internal logic of a sculpture’s color, material, IN 449 and physical construction. narrative, emblematic, environmental, etc., reflect the cluster of types of sculptural Crafts/Fine Arts Internship imagery. This studio course is concerned with 3 credits, 90 hours/semester the ideational and technical issues raised by Conditions for enrollment: Must be enrolled as various types of sculptural imagery that are a junior or senior in a BS or BFA program; must assigned in turn. The relationship that sculp- have a 2.5 cumulative GPA; and cannot enroll tures have with the context they exist in and for more than 18 credits, including those earned the purpose they serve is stressed. from the Internship during that semester. Prerequisite: SC 202. Open to Crafts and Fine Arts majors only.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 195 MFA in Sculpture TH 105 A Theater Arts Stage Combat I 2 credits, 3 hours Each summer session begins with a The integration of aggressive acting intent and detailed review of the student’s previous TH 100 A/B safe combat technique using both the unarmed work, assessing progress, addressing Acting for Non-Majors I, II body and the knife. issues, and planning the summer’s work. 1 credit, 1.5 hours Prerequisite: Permission of the instructor. Ongoing individual meetings with the Introduces the non-actor to improvisation, Corequisite:TH 103 A. studio mentor are augmented by group character development, and the basic idea of critiques at the beginning, middle, and action and objective in performance. The first TH 105 B four weeks acclimate the new actor to being end of the summer session and by occa- Stage Combat II sional group or individual critiques with expressive in a group using body and voice 2 credits, 3 hours visiting artists. Each summer’s course through improvisation, theater games, and The integration of aggressive acting intent concludes with planning for work to be movement; breathing and relaxation tech- and safe combat technique using a saber or continued on an independent study basis niques are also taught. The students are single rapier. during the academic year. Independent introduced to script analysis, and asked to Prerequisite:TH 105 A or permission of the studio work is assessed at weekend cri- write and develop monologues and create dra- instructor. tiques held at periodic intervals and at matic characters for performance. Grading is the end of the fall and spring semesters. based on class participation and progress with TH 109 A/B the work on monologues. Voice and Speech for Actors I, II The following courses are open to students in 2 credits, 3 hours the summer MFA program only. TH 101 Neutral Mask Linklater exercises are the basis of a course SC 610 1 credit, 1.5 hours designed to help the student find his/her “nat- ural voice,” and to integrate body, breathing, Major Studio I A sequence of instruction in mask/movement voice, thought, and feeling into expression 6 credits, 10 hours techniques designed to remove all pedestrian through speech. The student is given a prac- Evaluation of the student’s artistic involve- movement from the actor, thereby developing tical understanding of the voice and how it ment, projecting and testing options for the the student actor’s movement vocabulary. works. Tensions that inhibit primary impulses direction of the student’s graduate work. Develops students’ awareness of their own are uncovered and dismantled. The function of Open to SUMFA students only. personal movement habits, and their ability to drop their habits in order to achieve neutral the articulators is studied and they are exam- SC 611 body movement. Exercises are designed to ined for blocks and exercised for release. Prerequisite: Permission of the faculty. Major Studio II achieve neutral body by beginning with 6 credits, 10 hours simple actions, and progressing to object iden- TH 111 tification. Further exploration of the options, with Makeup increased awareness of theoretical issues and Prerequisite:TH 105 A. 1 credit, 1.5 hours personal vision. Greater focus in the student’s Focuses on cosmetic application combined work, with a view to completing the repertoire TH 103 A/B with thorough exploration of the relationship of skills and expression in the medium needed Acting Studio I, II of appearance to character. The course empha- to undertake a thesis project. 3 credits, 6 hours sizes the total visual impact of the character Prerequisite: SC 610. Introductory studio focusing on the fundamen- on the audience, discussing in depth the con- Open to SUMFA students only. tals of acting, basic skills for stage communication, voice and movement exer- tribution of props and costume to the overall SC 710 cises, centering techniques, and exercises effect. The student is given clear directions on the basic techniques, including methods and Major Studio III designed to increase physical and emotional materials for all types of stage makeup, period 6 credits, 10 hours stamina, identify and strengthen poor tech- makeup, fantasy, and the use of three-dimen- Planning and initiation of a sustained body of nique, develop focus and concentration, and sional makeup and prosthetic makeup. mature work to be presented in a thesis exhibi- introduce the student to the demands of the Prerequisite:TH 103 L. tion during the following summer. theater. In the process of demystifying the Prerequisite: SC 611. craft, the student discovers the energy, power, TH 113 and vulnerability of self. Open to SUMFA students only. Encounters With Theater Arts Prerequisite: Permission of the faculty. 3 credits, 3 hours See complete course listing under Designed to foster students’ intellectual Master of Fine Arts. TH 103 L Crew engagement with drama and theatre, from 0 Credits, hours by assignment classical to contemporary, by introducing Four different production assignments for them to the basic terminology and method- School of Theater productions. Continues the ology used in understanding plays and classroom instruction providing an increased performances. A range of critical perspectives understanding of Technical Production. are applied to a variety of plays from different Open to Theater majors only. periods and places; additionally, a number of contexts for theatre study are introduced, including theatre history and production elements.

196 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 TH 114 TH 122 A/B TH 142 A/B Mask Characterization Music Skills for Musical Theater I, II TH 242 A/B 1 credit, 3 hours 2 credits, 3 hours class, 1 hour lab TH 342 A/B Introductory course in character development Skill training in sight reading, ear training, TH 442 A/B focuses on a process designed to release and keyboard, and music theory, oriented to the Voice Lesson for Musical Theater open the student’s emotional and physical needs of the musical theater performer. First 1 credit, 1.5 hours range, stimulate the imagination, place great year focuses on rudiments of notation, pitches, Individual (and, occasionally, small group) emphasis on physical actions, acting with the intervals, rhythms, and simple chords. instruction in vocal techniques appropriate for whole body, and ridding the student of self- Students learn to read from “lead sheet” the musical theater, culminating in a jury conscious mannerisms. Through the use of notation. Examples are drawn from musical examination each semester. oversized masks (and a series of challenging theater and classical repertoire. In-class exer- Prerequisite: Permission of the faculty. exercises), the student is allowed the freedom cises and drills are supplemented with to become someone else. The work aims to computer-based instruction and keyboard lab. TH 150 A/B integrate the student’s skills with his/her Corequisite:TH 122. Dance for Musical Theater I, II instincts, allowing impulses and the imagina- 1 credit, 3 hours tion to flow in conjunction with a flexible and TH 122 L Dance technique training oriented to the spe- vulnerable body. The work culminates with Music Skills Lab cific needs of the musical theater performer. the presentation of a fully realized character, a 0 credits, 1 hour Classes in jazz and ballet build strength and synthesis of the entire semester’s work. Supports Music Skills I and II. awareness and extend the student dancer’s Prerequisite:TH 101. physical and expressive range. TH 123, 124 Prerequisite: Permission of the faculty. TH 115 A/B Scene & Lighting Tech Movement for Actors I, II Costume and Property Tech TH 203 A/B 1 credit, 1.5 hours 2 credits, 2 hours Acting Studio III, IV Introduces basic movement vocabulary in Introductory course in various phases of phys- 3 credits, 6 hours modern dance, primarily using basic improvi- ical production dealing with the stage, house, Course continues the work started in TH 103. sational technique. The course is designed to backstage personnel and their duties, con- Sensory/emotional work and its relation to provide the student with awareness of his/her struction and painting of scenery, stage characterization is further explored, leading to body and the basic skills of movement and lighting, costumes, props, and makeup. an in-depth study of motivation and subtext. dance, such as stretching, breathing, posture, Sensory, emotional, and adaptation exercises, coordination, balancing, etc. Allows the stu- TH 123 L, TH 124 L as well as improvisation and two-character dent the experience of creative application of Scene & Lighting Tech Lab scenes are used to deepen the actor’s ability to movement and movement expression through Costume and Property Tech Lab execute honest and purposeful stage action various forms and structures of improvisation. 1 credit, 3 hours and communication. Emphasis is placed on Prerequisite: Permission of the faculty. Laboratory experience for students in SOTA’s the “truth of the movement.” Both perform- ATA. Students receive foundation training in ance and personal journals are maintained on TH 116 scenery construction and rigging, lighting and a continuing basis, and outside rehearsals on Dance for Actors electrical production, costume and property scenes are expected. All scene work is 1 credit, 1.5 hours construction, and provide production support directed by the instructor, using an individual- A foundation course for actors that uses basic serving as primary assistants to professional ized hands-on approach. Vaganova ballet technique to develop align- designer working on SOTA shows. Weekly Prerequisite: Placement by the faculty. ment, flexibility, coordination, and hours may vary depending upon assignment. discipline, and introduces the actor to the Prerequisite: Open to Applied Theatre Arts students. TH 205 A movement vocabulary of this tradition. Stage Combat III Development of body awareness with TH 141 A/B 2 credits, 3 hours attention toward the verticality, two-dimen- Voice for Musical Theater I, II Intermediate course teaches the integration of sionality, control, and restraint of ballet. 1 credit, 1.5 hours aggressive acting intent and safe combat tech- Introduction to the fundamentals of vocal nique using a broadsword and rapier technique, vocal anatomy, and vocal perform- and dagger. ance for the musical stage. Examination of Prerequisite:TH 105 B. various vocal styles used in the musical the- ater, past and present. Prerequisite: Permission of the faculty. Corequisite:TH 141 L.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 197 TH 205 B TH 222 A/B TH 241 Stage Combat IV Music Skills III, IV Foundations of Singing-Acting 2 credits, 3 hours 3 credits, 3 hours class, 1 hour lab 2 credit, 3 hours Intermediate course prepares the student for Continued skill training in sight reading, ear Students are introduced to techniques for han- the National Stage Combat Proficiency Test training, keyboard, and music theory, oriented dling the unique challenges of acting while adjudicated the last day of class by a Fight to the needs of the musical theater performer. singing. Vocal technique and acting technique Master from the Society of American Fight Examples are drawn from a wide range of are integrated through intensive work on solo Directors. This test includes unarmed combat, musical repertoire. In-class exercises and literature, musical scenes, exercises, and rapier-and-dagger, and broadsword integrated drills are supplemented with computer- improvisations. into a character-specific scene of dramatic based instruction. Prerequisites:TH 223,TH 122, and TH 141. conflict. Prerequisite:TH 122 B. Prerequisite:TH 205 A. TH 250 A/B TH 222 L Dance for Musical Theater III, IV TH 209 A/B Advanced Music Skills Lab 2 credits, 4.5 hours Voice and Speech for Actors III, IV 0 credits, 1 hour Continuation of the previous year’s dance 2 credits, 3 hours Supports Music Skills III and IV. training. Technique training in jazz, tap, ballet, Practical training in speech for the stage. Corequisite:TH 222. social dancing, and related subjects is con- Emphasis on articulation and eliminating tinued, with focus on the technical needs of regionalisms. During the course of the year TH 223 the musical theater performer. the student is expected to achieve a high Acting Studio: Technique I Prerequisite:TH 150 B. degree of proficiency in General American 4 credits, 7.5 hours Required of all Musical Theater majors. pronunciation. Resonance, placement, and Study in contact and truthful response, conver- range are developed. Particular attention is sational reality, concentration, spontaneity, TH 305 A/B paid to ending consonants, equating length of getting in touch with one’s own behavior and Stage Combat V, VI thought and length of breath, and key that of others. 2 credits, 3 hours wording. Prerequisite: Placement by the faculty. Advanced exploration of the text-specific Prerequisite:TH 109 B. challenges of fight direction and fight per- TH 224 formance using a wide variety of weapons. TH 213 Acting Studio: Technique II Weapons and texts change each semester. Script Analysis 4 credits, 7.5 hours Prerequisite: National Stage Combat Proficiency 3 credits, 3 hours Refinement of the actor’s inner resources, and Test Recognition. Introduces the student to practical analysis further development of the actor’s technique of texts/scripts. The course explores the con- and skills at textual analysis. Exploration of TH 309/310 cepts of conflict, human action, character, relationship, point of view, circumstance, Voice and Speech for Actors V, VI action/reaction cycle, dramatic structure, truthful involvement, and the reality of doing. 2 credits, 3 hours translations, and resources external to the Prerequisite: Placement by the faculty. Involves the study of the key dialects of North script (historical perspective). At the course’s America, the British Isles, and Europe using end, the student should possess a firm under- TH 227 the International Phonetic Alphabet as a guide. standing of the process involved in script Fundamentals of Stage Management The dialects chosen are those for which there analysis, be thoroughly familiar with the 3 credits, 3 hours is most demand in dramatic literature; conse- composite types of dramatic literature, begin An examination of the role of the stage man- quently some time is spent on “Standard to understand the nature of an informed aes- ager in theatrical production. Practice in the British,” “Southern Irish,” “American thetic, and understand the consequences techniques of pre-production activity, coordi- Southern,” and “New York.” Approximately of each element of a performance on its nating and maintaining rehearsal discipline, eight to 10 dialects are addressed in depth. audience. developing a prompt script, and calling a Prerequisite:TH 209 B. May be repeated for credit. Prerequisite:TH 113 or HU 110 B for non-Theater show. majors. Prerequisite:TH 123. TH 311 A/B Discipline History/Humanities Theater History I, II TH 228 3 credits, 3 hours TH 215 A/B Theater Management Two-semester survey of the history of theater: Movement for Actors III, IV 3 credits, 3 hours its dramatic literature, theater structures and 2 credits, 3 hours An introduction for the Applied Theater Arts production methods, styles of acting, and his- Utilizes intensive physical-emotional improvi- student to the important role that theater man- torical trends, through readings, discussions, sation work, including exercises in agers and their administrative staffs play in the and lectures. The course explores the history Williamson technique, rhythmic movement, day-to-day operations of theater companies. of theater through its artistic, spiritual, polit- center floor work, stretches, and the use of An up-close look at all the facets of running a ical, and cultural sources of empowerment. physical impulse to expand emotional range. successful theater: fundraising and audience Students are provided with the historical back- Prerequisite: Placement by the faculty. development, marketing and public relations, ground to apply acting, directing, and fiscal organization and board relations, box designing techniques to the theater of other office and house management, and educa- periods of history. tional outreach. Prerequisite:TH 213. Open to all students. Discipline History/Humanities

198 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 TH 312 A/B TH 320 TH 326 Musical Theater History I, II Musical Theater Performance Audition Techniques 3 credits, 3 hours 2 credits, 3 hours 2 credits, 2 hours Two-semester survey of the history of the Elective course for non-major actors, singers, Focuses on the skills necessary to audition American musical theater in the 19th and 20th and dancers in which students can explore the successfully for theatre, film, and television. centuries. Students develop insight into the craft of the singing actor through exercises, Topics include cold readings, monologues, tel- writers, performers, and theater artists who improvisations, and repertoire study. Students evision commercials, and dealing with agents created the legacy of the musical theater in learn and rehearse solos, scenes, and ensem- and casting directors. America, and examine representative works bles from the musical theater repertoire. Prerequisite: Placement by the faculty. from a variety of periods. Students undertake Emphasis is on developing honesty, ease, research projects focusing on major per- and expressiveness in musical theater TH 327 formers, writers, directors, and performance. Advanced Stage Management choreographers. Artists and their work are Prerequisite: Permission of the instructor. 3 credits, 3 hours studied in print and on audio and video Advanced study of the stage manager’s func- recordings. TH 323 tion in theatrical production. Coordination of Corequisite for Musical Theater majors:TH 318 Acting Studio: Technique III production personnel, and the management Musical Theater Repertory. 3 credits, 6 hours responsibilities in the pre-rehearsal, rehearsal, Discipline History/Humanities Studies in advanced acting. Further develop- and production periods. ment of performance technique as it relates to Prerequisite:TH 227. TH 315 A/B the rehearsal process. Special emphasis given Movement for Actors V, VI to clarity of behavior, characterization, action TH 330 2 credits, 3 hours and objective. Scene work used as a means of Acting on Camera Develops clarity and precision of movement gauging the actor’s ability to apply studio 1 credit, 2 hours through increased awareness of action and work to text. Designed for acting students who want to gain character. The student develops greater kines- Prerequisite:TH 224. knowledge and experience in acting for film thetic sense and enhances his/her capability and television, the primary market in the for expressive movement. First term focuses TH 324 entertainment industry. Sessions give each on Laban efforts; second term on LeCoq tech- Acting Studio: Poetic Realism participant a hands-on experience in acting for niques and period work. 3 credits, 6 hours the camera. The actors are able to see and Prerequisite:TH 215 B. Exploration of scene study methods as they evaluate each other’s film work during a spe- apply to dramatic works by such authors as cial screening session at the end of the course. TH 317 Ibsen, Strindberg, Wilde, Chekhov, and Shaw, Prerequisite:TH 323. Fundamentals of Directing and further development of actor’s attention to 3 credits, 3 hours and application of behavioral specificity. TH 341 A/B An overview of the directorial process. Prerequisite: Permission of faculty. Voice for Musical Theater V, VI Discusses the various facets of a director’s 1 credit, 1.5 hours job, especially in the early phases of a produc- TH 325 Styles of singing-acting. Students apply inte- tion, e.g. working with the actor, casting, table Oral Interpretation grated singing-acting technique to a diverse work, and rehearsal, and culminates with each 2 credits, 3 hours range of period styles of musical theater. Solo student directing a scene of his/her own. The Examines the elements of form and structure literature from the 1860s through the present emphasis is on empowering the students as in various kinds of literature, and applies that day is examined. theatre practitioners within the rehearsal analysis to the craft of the performance. Prerequisites:TH 224,TH 222 B, and TH 241. process by introducing them to the basic prob- Studies begin with fairy tales, investigate lems encountered by the stage director, with modern and contemporary retellings of fairy TH 349 whom all theatre participants work. tales, and continue with modern and contem- Production Practicum Prerequisite:TH 311 B or TH 312 B. porary short stories. The techniques of oral 1 credit, hours by assignment interpretation–different than those used in a Practical application of training to experiences TH 318 A/B studio acting class–focus on the meaning of in a wide range of production areas: Musical Theater Repertory literature via suggestive vocal dexterity and dramaturgy, design, technology, theater man- 2 credits, 5 hours subtlety of revelation, rather than explicit agement, etc. May include realized studio, Scenes, songs, and dances are drawn from the action. Students are required to write papers workshop, or project assignments. diverse musical theater repertory, enabling the analyzing the literature they choose to per- Prerequisite:Two semesters of TH 103 L. May be student to develop versatility and a sense of form. The course closes with a class repeated for credit. style. performance. Prerequisites:TH 222 B,TH 241, and TH 250 B. Prerequisite: Permission of faculty. TH 350 A/B Dance for Musical Theater V, VI 1 credit, 3 hours Continued study of ballet and jazz technique and musical theater styles. Prerequisite:TH 250 B.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 199 TH 405 A/B TH 430 TH 475 Stage Combat VII, VIII Stage to Video Production Special Studies in Theater 2 credits, 3 hours 2 credits, 4 hours 3 credits, 3-6 hours Advanced exploration of the text-specific Project work both behind and in front of the Topics and studies of current interest in areas challenges of fight direction and fight per- camera. Each actor works on a monologue or of theater practice, such as new trends or formance using a wide variety of weapons. scene chosen in consultation with the movements in performance, movement, voice Weapons and texts change each semester. instructor to make his/her work in front of a work or international theater. Topics could Prerequisite:TH 305 B. camera compelling, secure, and believable. also include areas of theater production, guest ATA students will deal with Production artists workshops, or contemporary develop- TH 415 A/B Assistant responsibilities, such as continuity, ments in the field. Courses can be taught in Movement for Actors VII, VIII assisting directing, etc. Student assignments either a studio or lecture format with contact 2 credits, 3 hours may vary according to strengths and interests. hours varying accordingly. May be repeated Continuation of TH 315. Work in LeCoq Special benefit: Students can use excerpts for credit for topics on different subjects. movement. Spring term develops a senior from the workshop for a “video audition” Prerequisite: By permission of faculty. movement project. commonly required by today’s casting direc- Prerequisite:TH 315. tors, agents, and film/TV directors. TH 460 Prerequisite:TH 330. Applied Theater Arts Seminar TH 417 3 credits, 3 hours Directing Studio TH 441 A/B Analysis and study of contemporary practices 3 credits, 3 hours Voice for Musical Theater: and trends in non-performance disciplines of A thorough investigation of the directing Cabaret/Audition theatrical production. Students will engage in vocabulary, exercises in space and composi- 1 credit, 2 hours readings, discussions, and writing projects tion, exploration of scripts from the director’s A senior seminar in singing-acting. Students dealing with their experiences to-date in their point of view, and practical experience with work on more demanding repertoire and on chosen field of theatrical endeavor. The course ground plans. The student is asked to demon- special performing challenges such as cabaret may require field trips and/or attendance at strate his/her understanding of blocking values theater and auditioning. A Senior Showcase is special events to place current trends in larger and textual analysis by conceptualizing and prepared and performed, and professional out- social and practical contexts, and to help the then staging simple scenes. Introduces the placement issues are addressed. student develop strength and perspective basics of acting coaching and is coordinated Prerequisite:TH 341 B. within his or her own work. with script analysis and dramatic criticism. Prerequisite: U4 Status in the ATA program. Prerequisite:TH 317. TH 449 Internship TH 419 3-12 credits, hours by assignment Business of Theater Hands-on involvement with a professional 1 credit, 1.5 hours company. Placements may consist of adminis- Exploration of the business and legal aspects trative or production support work, positions of careers in the professional theatre: the roles in assistance to directors, producers, stage of agents, managers, producers, and managing managers or dramaturges, literary manage- directors are explored. Involves lectures on ment, casting, understudying or performance, various topics such as unions, contracts, taxes, and may be outside of the Philadelphia area. management, and representation as well as Prerequisite/corequisite:TH 419. occasional visits by professionals in the field. Open to Theater Arts majors only. Prerequisite: Placement by the faculty. TH 450 A/B TH 423 Dance for Musical Theater VII, VIII Acting Studio: Verse Drama I 1 credit, 3 hours 4 credits, 7 hours Continued study of ballet and jazz technique Integrated voice and performance work on and musical theater styles. period scenes and monologues. Material to be Prerequisite:TH 250 B. covered includes Greek to Restoration. Prerequisite:TH 323 or permission of faculty. TH 451, TH 452 Senior Project TH 424 3 credits, hours vary by assignment Acting Studio: Verse Drama II Faculty approved and supervised capstone 4 credits, 7 hours experience in a student’s area of concentra- Continues the student’s training in the most tion. May be a School of Theater advanced level of period and style work. Arts-sponsored project or one with a reputable Increased attention to voice work is supported outside company recognized by the faculty by the use of texts from Greeks to Restoration. and area professionals. Exploration of comic techniques, heightened Prerequisite:TH 349. behavior, and emotional support are involved. Prerequisite:TH 423 or permission of faculty.

200 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 WM 225 WM 251, WM 252 Writing for Film Interactive Writing I Narrative Cinema I, II 3 credits, 4 hours 3 credits, 6 hours and Television The first semester of a year-long studio course Examines and analyzes film through the per- that builds upon the basic principles of dra- spective of narrative structure. Various forms, WM 111, WM 112 matic writing by identifying and utilizing the schools of film, styles, and genres from both Traditions of Narrative I, II web environment as a unique medium for nar- the domestic and international film commu- 3 credits, 4 hours rative storytelling. Through analysis and nity are studied chronologically, emphasizing Two-semester studio writing course that uses written exercises, students learn how multiple the influence and integration of the various narrative examples from various genres to story and character arcs are designed and sup- forms with one another. The course requires introduce dramatic structural elements such as ported by specific interactive storytelling weekly screenings of the work being studied. character, conflict, and premise. Students are models. Students who have successfully completed required to write extensively both in and out Prerequisite:WM 219 for non-writing majors; HU 248 A/B are not eligible to enroll for of class. Two major creative written works MM 221 for writing majors. credit in this course. required in each semester. Open to all students. Prerequisites: Permission of the instructor and WM 226 Discipline History/Humanities review of a portfolio of written work. Interactive Writing II 3 credits, 4 hours WM 253 WM 113, 114 The second semester of a year-long studio History of Television Dramatic Structure I, II course that extends the interactive storytelling 3 credits, 3 hours 3 credits, 4 hours knowledge gained in Interactive Writing I to a Provides an overview of the medium of televi- An intensive year-long writing course that project-based and dialogue driven-narrative. sion. The impact of television since its inception introduces students to major principles of the Working in writing teams, students create and has become increasingly pervasive and has three-act structure found in narrative screen- write two short web drama scripts based on influenced an entire society through its ability to plays. Focus on such topics as act design, models studied in Interactive Writing I. As a educate and entertain. Video examples of the creation of character, conflict, and setting. final project, each student completes a formal medium are supplemented by class discussion Students will be required to complete major web drama proposal, outline, and script for a and reading assignments. Two term papers, a written work and participate in workshops of potential production in the culminating midterm, and final exam are required. written material. course, Web Drama Studio. Open to all students. Prerequisite: Permission of the instructor. Prerequisite:WM 225 Discipline History/Humanities

WM 214, 215 WM 241 WM 315 Screenwriting I, II Arts of the Media Adaptation from Fiction 3 credits, 4 hours 3 credits, 3 hours 3 credits, 3 hours An intensive screenwriting workshop where, Introduction to the various production values, Writing course developing the craft of adapta- in the first semester, students write a series of which directly influence the character of the tion, focusing on the use of fictional material outlines for a short screenplay. In the second dramatic product. Subjects of study include as the source for the dramatic form. The var- semester, students write outlines and a short music, cinematography, art and production ious genres of fictional material, including screenplay. design, editing, sound, costume design and novels and short stories, are examined and stu- Prerequisite:WM 113,WM 114; or WM 219, or special/computer effects as they relate to dents learn to handle the conceptual and permission of the instructor. the writer’s intention and the quality of the technical challenges inherent in the process of final product. altering written text for the mediums of televi- WM 219 Open to all students. sion and film. Writing for Film Prerequisite: HU 110 B, or permission of the 3 credits, 4 hours WM 243 instructor based on a review of a portfolio Studio writing class introducing students to Screenplay Analysis of written work. the basic elements of screenwriting for film. 3 credits, 3 hours Students are required to write dramatic exer- A course devoted to the critical analysis of WM 316 cises in class, as well as outside of class. screenplays. Students will be required to read Adaptation from Non-Fiction Supplemental readings are discussed and film numerous scripts and write critical papers on 3 credits, 3 hours highlights shown to assist the students in their various dramatic structural principles high- Writing course developing the craft of writing. lighted. adapting non-fictional sources to the dramatic Prerequisite: HU 110 B. Prerequisite:WM 219, or permission of the and documentary form. Various genres of non- instructor. fictional material, including but not limited to newspapers, periodicals, autobiographies, biographies, memoirs, letters, diaries, and his- torical texts, are examined. Students learn to manage the conceptual and technical chal- lenges inherent in the adaptation of non-fiction for television and film. Prerequisites: HU 110 B, and permission of the instructor based on review of a portfolio of written work, or WM 112.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 201 WM 317 WM 341 Episodic Television Writing Acting/Directing for Writers 3 credits, 4 hours 3 credits, 4 hours Studio writing class that analyzes the specific Studio course addressing the collaborative genre of episodic television writing. Students aspect of dramatic production involving read scripts and view examples of various writers, actors, and directors. Students are genres in the form, and work in teams to introduced to directing and acting, using their create original written work. own dramatic texts as the source material. Prerequisites: HU 110 B, and Junior status in the Prerequisite:WM 214 or WM 219. major,or permission of the instructor based on a review of a portfolio of written work. WM 343 Film Story Analysis WM 318 3 credits, 3 hours Episodic Television Writing II Explores dramatic structures and storytelling 3 credits, 4 hours conventions of narrative films. Screenings, Advanced studio writing course in which stu- group discussions, and analysis will highlight dents outline and draft two full-length scripts the devices employed by screenwriters to tell a for episodic television series. good story. Weekly screenings followed by Prerequisite:WM 317. critical papers of each screening. Prerequisite:WM 215, or WM 219. WM 321, WM 322 Advanced Screenwriting I, II WM 411, WM 412 3 credits, 4 hours Senior Thesis I Studio writing course preparing the student 3 credits, 4 hours for the entire process of crafting a full-length Senior Thesis II script for film. In the first semester, students 3 credits, 3 hours develop a concept, pitch the project, prepare The final writing project in the program where an outline/treatment for a full-length work, over the year, the student develops an and draft the first act. The second semester is outline/treatment and the completion of a full- devoted to the completion of the full-length length screenplay along with two revisions. work and the revision process. Entertainment industry practices are inte- Prerequisite:WM 215, or permission grated into the course. of the instructor. Prerequisite:WM 322.

WM 323, WM 324 WM 431 Advanced Playwriting I, II Interarts Project 3 credits, 4 hours 3 credits, 6 hours Studio course preparing students to write a Provides an opportunity for writers and stu- full-length play. The first semester focuses on dents throughout the University to collaborate development of a theme and preparation of a on a semester-long project. Students jointly draft of the first act. The second semester is submit project proposals for approval and devoted to the completion and refinement of develop them to completion. Emphasis is the piece, resulting in a full-length work. placed on the students’ ability to consider the Prerequisite:WM 215, or permission artistic and technical implications of the com- of the instructor. bined media while successfully integrating art forms in a considered and polished final piece. WM 330 Open to all students with permission Web Drama Studio of the instructor. 3 credits, 6 hours A capstone course in which students are WM 499 required to begin with an already completed Internship and approved web drama proposal and script. 3 credits, 6 hours Each student then works to produce his/her Seniors are placed with companies to expose own web drama script online, while collabora- them to a real work environment in the field of tively supporting other writer/producers in the media. Placements vary and may include local course on their projects. network-affiliated television stations, public Prerequisite:WM 226 or permission of instructor. broadcasting stations, or film production com- panies. A paper or journal chronicling the experience is required upon completion of the internship. Open to Seniors in Writing for Film and Television only.

202 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 General Information

Undergraduate and Graduate Course Catalog 2003 • 2004 1. Application Form. Paper forms are available from the Office Admission of Admission or downloadable from the University website; they also may be electronically submitted at www.uarts.edu/applynow. Barbara Elliott All candidates are required to submit a completed application for [email protected] admission and a $50 application fee. The application fee for interna- Director of Admission tional applicants who are not U.S. citizens or Permanent Residents is First Floor, Dorrance Hamilton Hall $75. The University of the Arts will waive the application fee in 215-717-6030 cases of extreme family financial need. A fee-waiver request is required from a high school guidance counselor, two-year college The admission requirements and procedures are designed to help counselor, or other authorized person. the University select, from among the men and women applying, 2. Secondary School Record. An official copy of the secondary those best qualified to benefit from the educational opportunities at school transcript is required of all applicants. A curriculum of col- The University of the Arts. The University prefers applicants who lege preparatory subjects is recommended. Specific course express themselves through visual images, performance, and cre- distribution is not required, although a minimum of four (4) years of ative writing; who demonstrate intellectual abilities through their English and two (2) years of history is strongly recommended. academic record; who wish to increase their awareness of them- Remaining courses should be selected from the approved college selves and their world; who address their environment in a positive, preparatory program, including study in languages, mathematics, individualistic manner; and who bring energy, concern, and humor science, humanities, art history, psychology, and sociology. These to their inquiry. The University values diversity, liveliness, thought- courses should be augmented by study in visual art, music, dance, fulness, and curiosity, and seeks in its students a broad range of drama, or creative writing. intellectual, artistic, extracurricular, and personal energies. Applicants not holding a regular high school diploma may qualify Admission is offered without regard to race, color, national or ethnic for admissions consideration upon conversion of the General origin, religion, sex, sexual orientation, marital or parental status, Education Development Test (GED) to a state diploma through the age, or handicap. Each applicant is considered individually, and the Department of Public Instruction of the applicant’s resident state. Director of Admission may make an exception to any requirement. The University of the Arts welcomes applications from students Admission to The University of the Arts is based on both aca- who are home-schooled. Home-schooled students must present a demic performance and artistic development. Each college at The secondary school diploma issued by their public school district or University of the Arts has special admission criteria related to its the GED. For Pennsylvania residents, The University of the Arts course of study. The admission committee examines every appli- also accepts secondary school diplomas issued by Erie Area cant’s academic record for evidence of rigorous, scholarly Homeschoolers, Buxmont Christian Educational Institute, and preparation. In addition, each college at the University has separate Pennsylvania Homeschoolers Accreditation Agency, all of which are requirements for evaluating a candidate’s artistic progress. Entrance approved by the Pennsylvania Department of Education to award to the College of Art and Design requires the candidate to present a secondary school diplomas. visual portfolio. The College of Performing Arts requires students to 3. Standardized Test Scores. The submission of official stan- pass an audition in their specific discipline. The College of Media dardized test scores is required for admission although applicants and Communication asks candidates to present a media or writing who have completed a college-level English Composition course portfolio. Because the portfolio and audition requirements are spe- with a grade of “C” or better, or applicants who have been out of cific to each program, interested applicants should contact the school for more than five years, are not required to submit standard- Admission Office for a full explanation of the University’s expecta- ized test scores. The SAT, SAT 1, or ACT are the acceptable tions. standardized tests. Applicants with a diagnosed learning disability or Admission to the University is based upon a combination of fac- the other qualifying impairment may submit nonstandard-adminis- tors; candidates for admission must assume responsibility for all of tration test results. United States-educated students whose first the admission requirements when submitting an application and language is other than English are required to submit the results of realize that the Admission Committee will base its decision on the the SAT II English Language Proficiency Test (ELPT). The ELPT is sum total of these factors. offered as an achievement test through CEEB. Test results should be sent to the University directly from the testing agency. The University of the Arts’ CEEB code is 2664. The ACT code is 3664. Undergraduate Application Process Candidates for admission from Puerto Rico or Latin America may International applicants should also refer to the section of this cat- substitute or augment the SAT or ACT with the Prueba de Aptitud alog titled International Students. (See index.) Academica (PAA). All applicants are encouraged to visit The University of the Arts 4. English Language Proficiency. Applicants educated outside for an information session and portfolio review or audition. the United States for whom English is not their first language are Information sessions with the Admission staff offer students and required to demonstrate proficiency in English. The TOEFL is their families the opportunity to learn more about the application required for applicants who have been educated in non-English- process, programs of study, campus life, and financial aid. Portfolio speaking countries. A minimum score of 500, if paper-based, or 173, reviews, interviews, and auditions are part of all applicants’ entrance if computer-based, is required for undergraduate admission. United requirements and are separate from the information sessions. In States-educated students whose first language is other than English addition to demonstrating their artistic abilities during the portfolio are required to submit the results of the SAT II English Language review or audition, students should be prepared to discuss their aca- Proficiency Test (ELPT). The ELPT is offered as an achievement demic record, personal achievements, extracurricular activities, and test through CEEB. Test results should be sent to the University professional goals. directly from the testing agency. The University will also accept the

204 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 results of the College Board’s Advanced Placement course and exam Transfer of Credit in International English Language (APIEL) as proof of English lan- Students may receive credit for courses taken at other regionally guage proficiency for undergraduate admission. A minimum score accredited institutions that are similar in content, purpose, and stan- of 3 is required. dards to those offered at The University of the Arts. A minimum 5. Recommendations. Applicants are required to submit a letter grade of “C” is required in order to present a course for transfer of recommendation from a teacher, guidance counselor, or credit. Only credits are transferable, not grades. employer. Recommendations should comment on the applicant’s Candidates are given a preliminary transfer credit evaluation at demonstrated abilities in the arts, maturity, ambition, determination, the time of admission; final award of transfer credit and placement and seriousness of purpose. level is subject to receipt of final official transcripts and verification 6. Personal Statement. All applicants are required to submit a by the registrar at the time of enrollment. 150- to 300-word essay. The statement should be typed on a separate sheet of paper and attached to the application. The applicant should Residency Requirements list his/her name, Social Security number, and the semester for The time it takes for a student to reach graduation will depend which he/she seeks admission on the statement. upon the time needed to fulfill The University of the Arts’ degree 7. Artistic Presentation. Refer to the Portfolio and Audition requirements. requirements published in the application packet. Every transfer student must complete a minimum of four full-time 8. Interview. Although not required, all applicants are encour- semesters in residence preceding graduation and must earn a min- aged to visit The University of the Arts and interview with a member imum of 48 credits in studio and/or liberal arts courses. Transferable of the Admission staff or University faculty. Applicants to the credits will be applied only to the specific studio and liberal arts College of Art and Design are expected to present their portfolio requirements stipulated for a UArts degree. For this reason, transfer during the interview. Applicants to the College of Performing Arts or students may be required to remain in residence at the University for the College of Media and Communication should be prepared to dis- more than the minimum four semesters and to complete more than cuss their academic record, personal achievements, extracurricular the minimum 48 credits, regardless of the number of credits earned activities, and goals. The interview also provides the applicant with at previously attended institutions. Transfer credit is evaluated by the an opportunity to ask questions about the University. Applicants department chair or school director and the Director of Liberal Arts should feel free to note questions about the application process, pro- in consultation with the Office of the Registrar. grams of study, courses, instructors, student life, or financial aid and bring these with them to the interview. College of Art and Design 9. Financial Aid, Federal Loans, Scholarships. The University Upon completion of the preliminary credit evaluation, the appli- encourages electronic aid application. Students may submit the Free cant will be invited to schedule an interview and portfolio review Application for Federal Student Aid (FAFSA) online at with a faculty member from the major department. If unable to http://www.fafsa.ed.gov. For those without Internet access, the attend a personal interview, refer to the University’s Portfolio and FAFSA can be obtained from a high school guidance counselor. Audition Brochure for specific requirements. Submit the FAFSA to the Federal Student Aid Program by March 1 for priority consideration. List The University of the Arts as the Freshman Transfers institution to receive your information. The Title IV Code for The University of the Arts is 003350. For additional information, see the Transfer students with fewer than 21 transferable liberal arts Financial Aid section of this catalog. credits and without qualifications for advanced standing in studio should expect to be registered for the Foundation Program and antic- ipate being enrolled at The University of the Arts for the equivalent Transfer Applicants of eight semesters. Those who qualify for either the three-year pro- Transfer students are admitted to The University of the Arts under gram or advanced standing but wish to take advantage of the policies that vary from college to college. The University considers Foundation Program and elective courses may also apply as any applicant who has been enrolled in a college-level program of freshman transfers. study after secondary school to be a transfer applicant. Transfers enjoy a preferred position among applicants for admission since it Three-Year Transfers can be assumed they have matured in their goals and have demon- Applicants who have not had substantial studio instruction but strated their abilities at the college level. who present a minimum of 21 transferable credits in liberal arts may qualify for the three-year transfer program. Under this program, stu- Transfer Application Requirements dents have the opportunity to fulfill the College of Art and Design’s The application process for undergraduate transfer students is the graduation requirements in three years. In the first year, the same as for freshmen with the exception that, in addition to the Foundation Program curriculum is combined with studies in the process described in the above section, applicants must submit offi- major department. If approved by both the Foundation Program and cial transcripts from all colleges attended. Candidates should include major-department chairpersons, the transfer student may attain a listing of any courses in which they are currently enrolled or intend third-year status at the start of his or her second year. This program to complete prior to matriculation at The University of the Arts. To imposes an extremely demanding schedule and is best suited to aid in the assessment of transfer credits, a catalog containing the mature students who have definitely decided upon a major. course descriptions, credit assignment, and credit-hour ratio for each college attended should be sent to the Office of Admission. A min- Advanced Standing imum G.P.A. of 2.0 is required for transfer. Students transferring into the second- or third-year level studios of major departments are considered advanced-standing candidates.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 205 The first year in the College of Art and Design includes 21 credits of enrollment deposit that the student has submitted. The University studio classwork in the Foundation core (Drawing, Two- reserves the right to cancel the offer of admission if the student posts Dimensional Design, Three-Dimensional Design, and an optional a deposit at another college or university. course, Time and Motion) and elective courses. Students who have completed between 18 and 21 credits in studio and who have studied Housing Deposits in the Foundation areas may be considered for advanced status. University housing is open to new students entering in both fall Decisions concerning admission to a major department, class and spring semesters. Housing reservation forms are sent to all standing, and mandated prerequisites are made by major-department incoming students upon receipt of the tuition deposit. The faculty upon an evaluation of the admission portfolio and prelimi- University will guarantee housing to all students who submit a nary transfer-credit analysis. housing reservation and post a non-refundable $200 housing deposit by June 1. Although the University anticipates that it has adequate College of Performing Arts housing to meet the student demand for on-campus living, there is At the time of the entrance audition, the Audition Committee no way to predict when University-supervised housing may be evaluates the applicant’s performance with respect to the level of filled; therefore, after June 1, space is available on a first-come, first- achievement required for advanced standing. Transfer credit in the served basis. major may be granted for comparable previous undergraduate credit earned, up to the level of placement. Transfer credits may be granted Deferred Admission toward the Liberal Arts requirements regardless of a student’s Deferment of admission is not automatic. Undergraduate and standing in the major. The number of Liberal Arts credits accepted graduate students who are admitted to The University of the Arts for transfer is unlikely to change the length of time required to com- and then wish to defer their admission must submit their requests, in plete the degree. Transfers to the College of Performing Arts are not writing, to the Office of Admission. If permission is granted, a $300 given credit for studio courses until after the completion of the first nonrefundable tuition deposit must be paid in order to confirm semester at The University of the Arts. Transfer students to the enrollment for the following semester or year. Deferred students College of Performing Arts should assume that they will receive who enroll in a degree program at another institution in the interim freshman status unless advanced status is clearly indicated in their will not retain their deferred status; they must reapply to the letter of admission. University as transfer students. Deferred candidates are also required to submit a statement of College of Media and Communication activities and reaffirm their intent to enroll at The University of Transfer applicants to Writing for Film and Television, the Arts. Candidates seeking fall or summer enrollment must file Multimedia, and Communication are evaluated on a case-by-case this statement by January 15; spring candidates must submit basis, depending on the nature of prior educational experience and this statement by November 15. Students are permitted only demonstrated creative abilities. Transferrable credits may be applied one deferment. to major, Liberal Arts, and/or elective requirements. Those who are not approved for deferred admission may reapply for the following year. A new application form must be filed with a Application Notification reapplication fee of $10; additional credentials may be required. Applications are reviewed on a rolling basis beginning in December for fall admission and September for spring admission. Early Admission Priority is given to fall candidates who file an application for admis- Extremely capable students may be ready for college before they sion by March 15, although the University will accept and review have completed the normal four-year secondary school program. applications as long as space in the class is available. All applicants The University welcomes applications from those who feel they are are notified of the Admission Committee’s decision in writing by the scholastically and artistically prepared, and sufficiently mature, per- Director of Admission. Generally, students can expect to receive sonally and socially, to undertake college work. notification of the decision within two weeks of completing all Early Admission candidates must be able to fulfill either of the admission requirements. following conditions: 1. By taking an overload during the junior year of high school or Tuition Deposits summer courses, the applicant is able to complete high school Applicants who are offered admission for fall enrollment are diploma credit requirements and receive the diploma before asked to submit a $300 tuition deposit within three weeks of the enrolling at the University. offer of admission to reserve a place in the entering class. Upon 2. Under a written agreement, the candidate’s high school authori- receipt of the tuition deposit a housing reservation will be sent to the ties grant the applicant a high school diploma upon completion of student. The tuition deposit may be refunded if the student notifies the freshman year at The University of the Arts. the Office of Admission of his/her intent to cancel enrollment, in writing, prior to May 1. Conditional Admission The University of the Arts subscribes to the May 1 Candidate’s The University of the Arts has designed alternative admission pro- General Reply Date and will honor any applicant’s written request to grams to consider those whose potential may not be indicated in defer the acceptance of the offer of admission until May 1. Requests standardized test scores or class rank, or who have had limited for a refund of the tuition deposit that are postmarked after May 1 formal training in the arts. cannot be granted. After May 1 the University assumes that the stu- Offers of admission may specify one or more of the following dent’s tuition deposit to The University of the Arts is the only conditions:

206 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 1. Pre-Freshman Enrichment Program. The admission of should also send official descriptions of the college courses so that freshman applicants to the College of Art and Design or the the University can make accurate evaluations. Transfer credit cannot Multimedia program may be contingent upon successful completion be granted for courses that were taken to fulfill high school gradua- of the University’s Summer Pre-Freshman Enrichment Program tion requirements nor for credits earned in a dual enrollment (PREP). This condition is made when the application review indi- program that granted secondary school and college credit for the cates that additional preparation in studio is necessary to ensure the same course. Credit will not be granted for pre-college programs. student’s success in the first year curriculum. PREP includes studies in drawing, two-dimensional, and three-dimensional design. Classes International Baccalaureate are scheduled for a four-week session, with 30 hours of instruction The University of the Arts recognizes the International per week. PREP is a noncredit program, but grades are given to Baccalaureate Examination (IB). The University may award six measure performance. A minimum “C” (2.0) grade-point average credits toward the Liberal Arts requirements for a score of 4 or better indicates successful completion. in a higher level (HL) examination and three credits for a score of 4 2. Academic Warning. Students admitted under Academic or better in a subsidiary level (SL) examination in an academic sub- Warning must achieve a “C” (2.0) grade-point average at the end of ject. An official report of scores on the IB exams should be sent to their first year of study in order to be promoted. the Office of Admission for evaluation. Students are notified of the 3. Academic Achievement Program. Applicants may be credits awarded prior to registration. required to participate in the Academic Achievement Program (AAP). The purpose of the program is to provide developmental Credit from Nonaccredited Institutions maintenance and transition services to students who, because of life Based on the applicant’s portfolio, credit may be awarded at the circumstances, may not have achieved their potential in secondary time of admission by the department chairperson of the intended school and need additional preparation in art and academics to major. The maximum number of credits awarded may not exceed the ensure their success. AAP is funded by the Commonwealth of number of credits earned at the nonaccredited institution (as Pennsylvania’s Higher Education Opportunity Act (ACT 101). adjusted to conform with the University’s credit evaluation policies). Students selected to participate in the program must be Pennsylvania These credits may be assigned to fulfill specific requirements of The residents and meet the family income eligibility guidelines estab- University of the Arts degree as agreed upon by the department chair lished by the Commonwealth of Pennsylvania. or director, and the registrar. Advanced Placement Credit by Portfolio/Audition A maximum of 18 credits may be granted to applicants by port- CEEB Advanced Placement Program (AP) folio review for artistic experience independent of any coursework. The University of the Arts may award three credits toward the Credit by portfolio is granted only for studio work done prior to Liberal Arts requirements for a score of 4 or better in any CEEB matriculation at The University of the Arts. Academic standing and Advanced Placement Examination in an academic subject. An offi- course credit based on portfolio review are determined by the appro- cial report of scores must be submitted to The University of the Arts priate department chairperson during the admission process. This directly from The College Board, Advanced Placement Program, portfolio work cannot have been part of the assigned work for a sec- Princeton, NJ. AP credit is not given for studio art or performance. ondary or post-secondary course. Students are notified of AP credits awarded prior to registration. Applicants who qualify may be granted credit by audition in per- formance subjects. Audition credit requires the approval of the College Level Examination Program (CLEP) Audition Committee and the school director. Academic standing and The University of the Arts cooperates with the College course credit based on the audition are determined during the admis- Examination Board in its College Level Examination Program sion process. (CLEP). Credits may be awarded for Subject Examinations in com- position and literature, foreign language, history and social studies, International Students or science and math depending on the score earned in the examina- Applicants who are neither U.S. citizens nor Permanent Residents tion and other factors as follows: are considered International Students. The University encourages 1. The credit must be directly applicable to the student’s international candidates with strong academic and artistic qualifica- degree requirements. tions to apply for admission. 2. The credits cannot be used to fulfill upper-level course International students who apply to the University should follow requirements. the procedures outlined in the appropriate section of this catalog. 3. The total number of credits awarded through CLEP is International applicants should also be aware of the following addi- limited to 12. tional requirements and procedures: 4. A score equivalent to the minimum acceptable score or 1. English proficiency. Applicants to the undergraduate pro- higher as recommended by the American Council on Education grams whose first language is other than English are required to is necessary. demonstrate their proficiency in English in one of two ways: Submit official scores from the Test of English as a Foreign College-Level Coursework Language (TOEFL). A minimum score of 500 on the paper-based The University may also award credit for college work completed test, or 173 on the computer-based TOEFL, is required for admis- while the student was still in high school. Applicants who have taken sion to the undergraduate programs, college courses should arrange to have their college transcripts sent or to the Office of Admission for transfer-credit evaluation. Students Complete Level 112 in the English Language Program offered by

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 207 any one of the more than 20 ELS Language Centers located Permanent Residents may qualify for educational loans through an throughout the USA. Information about these programs may be International Student Loan Program (ISLP). Further information on obtained directly from: the ISLP may be obtained directly from:

ELS Language Centers International Education Finance Corporation 1357 Second Street, Suite 100 424 Adams Street Santa Monica, CA 90401-1102 USA Milton, MA 02186 USA Telephone: 310-458-7400 http://www.IEFC.com Fax: 310-458-7404 www.els.com 5. Scholarships. A limited number of partial merit scholarships may be awarded to international students who demonstrate out- International candidates for admission to a graduate program standing academic and artistic achievement and potential. whose first language is other than English must present an official International merit scholarship recipients are notified of the scholar- TOEFL score of 550 or above, if paper-based, or 213, if computer- ship award within two weeks of the offer of admission. based, or complete Master’s Level 112 in the English Language Program offered by any of the ELS Language Centers located Admission Requirements for Graduate throughout the U.S. Information about these programs may be obtained directly from ELS Language Centers, as listed above. and Post-Baccalaureate Programs 2. Transcripts/Mark/Grade Sheets. All applicants must provide The University of the Arts offers these graduate degrees: complete, official transcripts from every school attended on the high school/secondary level and postsecondary level. Each transcript Master of Fine Arts must be translated into English by a certified translator and the Book Arts/Printmaking translation must be notarized. Ceramics International students who wish to be considered for advanced Museum Exhibition Planning and Design standing and receive transfer credit for coursework already com- Painting pleted should submit an Evaluation of Foreign Educational Sculpture Credentials Comprehensive Report from the Academic Credentials Evaluation Institute (ACEI). International applicants to the graduate Master of Arts programs are also required to submit The Basic Report from ACEI. Art Education It is the applicant’s responsibility to contract with ACEI directly for Museum Communication this service. Instructions and application for foreign credentials eval- Museum Education uation can be obtained directly from: Master of Arts in Teaching Academic Credentials Evaluation Institute, Inc. Visual Arts P.O. Box 6908 Music Education Beverly Hills, CA 90212 USA Telephone: 310-559-0578 Master of Industrial Design Fax: 310-204-2842 - www.acei1.com Master of Music 3. Certification of Finances. International students who plan to Jazz Studies enroll at the University are responsible for all of their educational and personal expenses for the full duration of their education at The In addition to the graduate programs, The University of the Arts University of the Arts. Certification that these financial obligations offers post-baccalaureate non-degree programs in Crafts and teacher can be met is required in order to qualify for the F-1 visa. A certification in Visual Arts. Please refer to the Table of Contents to Certification of Finances form is sent to international students upon locate full program descriptions. receipt of their application. The form must be completed in English Candidates for graduate admission are strongly encouraged to file and certified by a bank official. This statement must declare the the admission application and complete all admission requirements availability of funds of at least (U.S.) $31,340 to cover the cost of early. The University has established several deadlines, after which one year of education and personal expenses. The I-20, used to candidates’ completed applications will be reviewed and notification apply for the F-1 visa, will not be issued without a valid of admission and financial aid decisions issued. If space remains Certification of Finances. All F-1 students are responsible for available in the entering class after the published application dead- obtaining immigration line, applications will continue to be accepted and reviewed on a information and following all the regulations in order to maintain rolling basis until the class is filled. status. Page 2 of the I-20 explains many of the obligations of an F-1 student. 4. Financial Aid. International students may be considered for a limited number of University-funded, merit-based scholarships. These scholarships cover partial tuition costs only. Need-based financial aid is not available. Students who are not U.S. citizens or

208 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Application Deadlines and goals. The statement should be typed on a separate sheet of paper and attached to the application. Applicants should list name, Social Security number, and the semester for which they seek Fall and Summer Enrollment admission on the statement. Application for fall admission and admission to the summer resi- 5. Interview: A personal interview with the director of the pro- dence MFA (Ceramics, Painting, and Sculpture) programs may be gram to which the candidate is applying is strongly recommended. submitted as follows: Appointments should be scheduled directly with the department. 6. English Language Proficiency: Applicants for whom English Priority Decision is not their first language are required to demonstrate proficiency in Applications received and completed prior to February 1 for fall English. The Test of English as a Foreign Language (TOEFL) is or summer enrollment will be reviewed for priority consideration. required for applicants who have been educated in non-English- Applicants will be notified of the Admission Committee’s decision speaking countries. A minimum score of 550 on the paper-based on or before March 15. test, or 213 on the computer-based test, is required for graduate admission, or level 112 in the English Language Program, offered Rolling Admission by any one of the more than 250 ELS Language Centers located Applications received after February 1 for fall and summer enroll- throughout the USA, must be successfully completed. ment will be considered on a space-available basis and reviewed on 7. Financial Aid: Obtain the Free Application for Federal Student a rolling basis. Aid (FAFSA) and a Stafford Loan Application if applying for finan- cial assistance. Submit the FAFSA to the Federal Student Aid Spring Enrollment Program by February 15 for priority consideration. The Title IV Music, Museum Communication, Museum Education, and Art Code for The University of the Arts is 003350. Education accept applications for spring enrollment. Graduate students who wish to be considered for grant assistance should contact their department for additional information. Regular Decision 8. Special Requirements for Graduate Education Applicants: Applications received and completed by November 15 will be Master of Arts in Teaching in Visual Arts (MAT) notified of the admission decision on or before December 1. Candidates for this program must hold a BFA or BA degree in art, or equivalent, with 45 credits in studio art and 12 credits in art his- Rolling Admission tory, with a “B” or better cumulative average. They must also have completed six credits in college-level math, three credits of English Applications received and completed after November 15 will be composition, and three credits in American or British literature. considered on a space-available basis and reviewed on a rolling Master of Arts in Art Education (MA) basis. Candidates can generally expect to be notified of a decision Candidates for this program must hold a BFA or BA degree in art, within two weeks of completing all application requirements. or equivalent, with 45 credits in studio art and 12 credits in art his- Transfer of Credit tory, with a “B” or better cumulative average. A teaching certificate is not required. A maximum of six credits may be transferred and applied toward Deficiencies in this minimum must be made up as prerequisites or graduate degree requirements with the approval of the program corequisites; a maximum of 12 such credits may be taken while a director and registrar. Only those graduate courses in which a grade matriculated graduate student. With approval of the program of “B” or higher has been earned may be considered for transfer director, a maximum of 6 studio credits may be applied to the elec- credit. tive requirements in the program. Graduate Application Requirements Graduate Portfolio and Audition Information All applicants for admission to graduate study at The University Every student applying to the College of Art and Design must of the Arts must hold a bachelor’s degree from a U.S. institution that submit a portfolio of his/her work. Every student applying to the is accredited by a recognized regional association, or have the equiv- College of Performing Arts must audition. An application must be alent of a bachelor’s degree from a foreign institution of acceptable filed with the Admission Office before a portfolio review or audition standards. is scheduled. Please refer to the Graduate Application Form for spe- 1. Application Form: All candidates are required to submit a cific requirements, which may be obtained through the Admission completed graduate application for admission and $50 application Office. fee. The fee for international applicants who are not U.S. citizens or Permanent Residents is $75. The application fee will be waived for Crafts Studio Post-Baccalaureate Certificate University of the Arts alumni. Admission to the Crafts Studio Program is based on portfolio and 2. College Transcripts: An official transcript from each under- interview. The program is designed for students who already hold an graduate and graduate school attended is required of all applicants. undergraduate degree. Applications may be obtained from the Office 3. Recommendations: Applicants are required to submit three of Admission. See Bachelor’s Degree Holders in the Financial Aid letters of recommendation. Two of these recommendations must section of the catalog for additional information. come from professors or professionals in the area of the student’s intended major who are familiar with the applicant’s capabilities and credentials. 4. Personal Statement: All applicants are required to submit a one- to two-page statement that describes their professional plans

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 209 Post-Baccalaureate Teacher Program, Pre-Certification Concentration in Art Education Tuition and Expenses Professional Semester The Post-Baccalaureate Teacher Program, Pre-Certification Mariann Cardonick Concentration in Art Education, is only available to University of the [email protected] Arts/College of Art and Design alumni. The Professional Semester Manager, Student Billing Office is taken the semester after graduation and after all pre-certification Second Floor, Dorrance Hamilton Hall requirements have been met, except for AE 552 The Art of Teaching 215-717-6187 and AE 659 Student Teaching Practicum. To be eligible to take the Post-Baccalaureate Professional Semester, candidates must have a Undergraduate Tuition and Fees “B” average and have successfully completed the Instructional I, Annual tuition is charged to all full-time undergraduate students, PRAXIS tests. They must also meet with the chair of the Art with one-half payable prior to the start of each semester. Full-time Education Department and fill out a Student Teaching Application students carry a minimum of 12 credits per semester and may carry the semester prior to student teaching. up to 18 credits without incurring additional charges. Excess credits are subject to additional charges at the standard semester credit rate. Post-Baccalaureate Teacher Program Permission of the dean of the appropriate college is required for a (Non-Degree) student to carry more than 18 credits in one semester. Candidates for this program must hold a BFA or BA degree in art, In addition to the annual tuition charge, all students registered for or equivalent, with 45 credits in studio art and 12 credits in art his- 12 credits or more are required to pay an annual general student fee. tory, with a “B” or better cumulative average. They must also have The general student fee is applied toward the cost of library facili- completed six credits in college-level math, three credits of English ties, studio and computer operations, orientation, student activities, composition, and three credits in American or British literature. In and special services, including health services, placement, and regis- addition, candidates must have successfully completed the tration. The annual general student fee is not refundable. Instructional I, PRAXIS tests. Students registering for fewer than 12 credits are charged per Credits earned in the Post-Baccalaureate Teacher Program (Non- credit. There may be additional course fees or charges, which may Degree) may not be converted to graduate credits or be considered include deposits, the cost of expendable materials, and lab fees in for transfer credit in a graduate program. selected studio classes. Lab fees, in particular, are most common in Applications may be obtained from The University of the Arts the Crafts and Media Arts departments. Please contact those depart- Office of Continuing Studies. ments directly for more information. In addition, private lessons for students who are not enrolled in the School of Music will carry an additional fee. Reservation deposits for housing and tuition are cred- ited to the student’s bill and are not refundable. Schedule of Annual Undergraduate Charges and Fees

2003-2004 Academic Year Full-time tuition $ 20,860 (12-18 credits/semester) Tuition per credit $ 904 General Student Fee $ 850 (all full-time students)

Housing Fees Housing: Barleigh Residence $ 5,450 Pine Residence $ 5,248 Ð 5,670 Furness Residence $ 4,710 Ð 5,390 1228 Spruce Residence $ 5,450 Ð 5,990 311 Juniper Residence $ 5,890 Ð 6,200 Housing reservation deposit $ 200 Housing damage deposit $ 200 (refundable) Graduate Tuition and Fees Graduate students are considered full-time if enrolled in at least nine credits. Teacher Certification students in Visual Arts are consid- ered full-time at nine credits. Full-time graduate students pay annual tuition plus the general student fee. General student fee charges are the same for graduate and undergraduate students. Tuition for part- time graduate studies is charged on a per-credit basis.

210 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 A student who has completed all the course requirements for the Payment Plans master’s degree and is currently working on the graduate As a service to our students and their parents, the University project/thesis, either on or off-campus, must register and pay a grad- offers a commercially-sponsored tuition payment plan. The plan uate project continuation fee (equal to the cost of 0.5 allows for the total sum of all tuition and fees to be paid over 10 credit/semester) until all degree requirments are met. Students com- months, from May through February. pleting a degree in the summer must pay the fee in the final Tuition Management Systems, Inc. (TMS), offers a budget plan semester. This registration, through the Office of the Registrar, is that allows you to pay all or part of your annual charges in 10 required in each semester until all degree requirements are met. monthly installments for a nominal annual administrative fee. A sep- A student without an approved leave of absence who does not reg- arate insurance program is also available to participants with this ister each semester will be considered to have withdrawn from plan. For more information contact TMS at 1-800-722-4867. candidacy for the degree. Students who have not maintained contin- uous registration must apply through the Office of the Registrar for Acceptance of Credit Cards readmission to the program, and will be retroactively charged for the The University only accepts credit cards for payment of new stu- intervening semesters. dent application fees, Continuing Education programs, and purchases made at the bookstore. Due to the high cost of merchant Schedule of Annual Graduate service fees imposed by credit card companies and banks, the Charges and Fees University does not accept credit cards for payment of undergrad- 2003-2004 Academic Year uate and graduate tuition, housing charges, and the general fee. For Full-time tuition $ 20,860 (9-18 credits/semester) those who prefer to use credit cards for their convenience or for Tuition per credit $ 1,059 reward/bonus programs, Tuition Management Systems, Inc. General Student Fee $ 850 (all full-time students) (TMS—see Payment Plans, above) provides two options. You may use your credit card either to make your monthly payments to TMS Tuition Payments and Financial or to pay the tuition in full. TMS will not assess a separate enroll- ment fee for these options. However, their contract levies a Responsibility convenience fee, between two to three percent of the balance Payment in full for each semester is required before students may charged. For more detailed information, please call TMS at 1-800- attend classes. Tuition invoices are mailed to students each July and 722-4867. November. Students who have not made arrangements to pay their tuition, fees, housing, and/or any other financial obligations to the University before the first day of classes each semester are subject to Tuition Remission and Discounts having their registration cancelled for that semester and losing their Students are entitled to only one type of tuition discount (i.e., class places. Cancelled registrations can only be reinstated with the alumni discount, sibling discount, spousal discount, etc.) in any approval of the Student Billing Office and are subject to a late pay- given academic year. For more information, contact the Office of the ment fee of $60. Registrar at 215-717-6420. The first-semester bill must be paid by mid-August and the second-semester bill must be paid by mid-December. Any amount Alumni Discount unpaid after the due date as indicated on the invoice is subject to a Sons and daughters of alumni of the University of the Arts are eli- late payment fee of $60 unless an alternative payment plan has been gible for a 10 percent remission on their tuition. To qualify, a student arranged through TMS (see “Payment Plans”). Settlement of all must present to the Registrar an original or notarized copy of the financial obligations of the University rests with the student or the long-form birth certificate, which lists the names of both parents. student’s parents if the student has not attained independent adult For purposes of this policy, alumni are defined as graduates who status. have received a diploma, degree, or certificate as a matriculated Failure to receive a tuition statement does not excuse a student student in an undergraduate or graduate program from either from paying tuition and fees before attending classes each semester. the College of Art and Design, the College of Media and Student accounts are considered settled when students receive Communication or the College of Performing Arts, excluding the Business Office Approval and a validated ID card. Evening or Continuing Education divisions of each College. The Any unpaid balance at the end of the semester will be referred to discount will be issued commensurate with the number of years that the University’s outside collection agency for collection and legal a student’s alumni parents attended the University (i.e., if an action. Students or their paying agents will be responsible for all alumnus received a certificate from a two-year program, the dis- collection costs and attorney fees. count would be offered for only two years). Methods of Payment Sibling Discount Families that have two or more members simultaneously Students who wish to make their tuition payment directly to the attending The University of the Arts are eligible for a tuition remis- University may use one of the following methods of payment: sion. To qualify, a student must present to the Registrar an original 1. Check or notarized copy of the long-form birth certificate, which lists the 2. Certified check names of both parents. The youngest member of the family may 3. Money order receive a 10 percent tuition remission each semester during which 4. Wire Transfer (Before arranging for a wire transfer, please call both are full-time matriculating students. the University for details about the process: 215-717-6194.)

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 211 Spousal Discount Tuition Refund Policy and Procedures A husband and wife attending The University of the Arts are eli- By registering for classes, students accept responsibility for gible for tuition remission. To qualify, presentation of an original or paying charges for the entire semester/term, regardless of the notarized copy of the certificate of marriage must be submitted to method of payment and attendance in class. the Registrar. The second person of the married couple to register at Students who are considering withdrawing (either from the the University may receive a 10 percent tuition remission each University or individual classes) should seriously consider the finan- semester during which they are both full-time matriculated students. cial consequences. Depending on the time of withdrawal, balances may still be owed to the University, the Federal Government (if a Housing Fees Title IV program aid recipient), State Governments, Agencies, loan Students are not permitted to move into University housing until providers, and other non-University grantors of scholarships and all tuition and fees are paid in full. A damage deposit is required of awards. Students are urged to meet with a financial aid counselor to all students who live in University housing. This deposit is held in discuss the monetary impact of withdrawal and their eligibility for escrow and will be refunded to the student after the apartment is aid in the current and future semesters. vacated. Any charges for damage to the apartment will be subtracted from this deposit. An additional Housing Reservation Deposit is General Refund Policy required to reserve a space in University housing. This deposit will Fall or Spring Semester be credited to the student’s bill and is not refundable. Tuition Charged Tuition Refunded Withdrawal occurring: Special Charges and Fees Prior to first day of classes 0% 100% Before end of second week 20% 80% Before end of third week 60% 40% Application Fee After end of third week 100% 0% An application fee of $50 is required with every application for admission or readmission. Summer Sessions Withdrawal occurring: Tuition Deposit Prior to first day of classes 0% 100% Once the student has been accepted for admission to the Before end of first week 20% 80% University, a $300 tuition deposit is required to reserve a place in the Before end of second week 60% 40% class. This deposit will be credited to the student’s bill and is not After end of second week 100% 0% refundable after May 1. The tuition deposit must be paid in U.S. dol- lars within three weeks of the offer of admission. Please refer to the The following items will be excluded from the refund calculation: Admissions section of this catalog for more complete information. 1. The comprehensive fee. 2. Supplies, which are considered 100 percent expended upon Late Registration purchase. A late registration fee of $35 will be charged to any student regis- 3. Books, which are considered 50 percent expended during the tering after the dates listed in the Academic Calendar. first week of classes and 100 percent thereafter. 4. The documented cost of any equipment issued to the student Late Payment and not returned in good condition. A late payment fee of $60 will be charged to any student failing to 5. Library fines and late fees. pay his or her tuition and/or housing bill by the due date. 6. Security deposits, which will be returned separately once it has been determined that no damages or fines have been assessed. Bad Check Penalty A $25 fine is charged for all checks issued to the University and Retention of Federal Title IV Program Funds not paid upon presentation to the bank. A hold will be placed on all Students should understand that withdrawing from the University official student documents until the original charge is paid in addi- may cause them to owe more money than if they had remained to tion to the fine. A “flag” will be placed on the student’s account and, complete the semester/term. for a period of one year, payment with a personal check will not be Withdrawing students who have been awarded Title IV Program permitted. At the end of one year the student may appeal to the aid funds are permitted to retain a pro-rata portion of these funds as Billing Manager to review his/her payment history. All balances will an offset (payment) against tuition charges prior to completion of 60 be referred to a collection agency if repayment is not made. percent of any Term or Summer Session. After the 60 percent mark, all such aid is treated as 100 percent earned. Title IV Program or Transcript Fee Federal funds would include PELL and SEOG grants, and Perkins, A $5 fee is charged to students requesting an official transcript Stafford, and PLUS loans. from the University. Please refer to the Academic Policies section in For example, a student withdrawing during a fall or spring term the front of this catalog under Transcript Request Procedures for on the 20th calendar day after the start of classes retains 19 percent more information. of the total Title IV aid awarded (excluding Federal Work Study). This percentage is calculated by dividing the 20 days completed by the 105 total days in the term (including Saturdays, Sundays, and holidays). This retained aid is then applied against the remaining balance of tuition charges calculated under the general refund

212 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 policy. The balance of the Title IV aidÐor 81 percentÐmust be returned to the appropriate issuer. If this student also received Financial Aid University awards (non-Title IV Program), the same retention per- centage would apply. Aquila W. Galgon If a student withdrew after 60 percent of the term was completed, [email protected] or on the 63rd day, 100 percent of the aid would be retained. Director of Financial Aid A student withdrawing during a Summer Session on the 20th cal- Second Floor, Dorrance Hamilton Hall endar day after the start of classes retains 47.6 percent of the total 215-717-6170 Title IV aid awarded. This percentage is calculated by dividing the 20 days completed by the 42 total days in the session (including The University of the Arts offers a variety of financial aid pro- Saturdays, Sundays, and holidays). This retained aid is then applied grams to assist students in meeting their educational goals. Aid may against the remaining balance of tuition charges calculated under the be offered in the form of grants, scholarships, loans, or employment, general refund policy. If this student also received University awards and is funded through federal, state, institutional, or private organi- (non-Title IV program), the same retention percentage would apply. zations. Grants and scholarships are considered gift aid and need not If a student withdrew after 60 percent of the term was completed, be repaid. Loans, which must be repaid, are usually offered at a low or on the 25th day, 100 percent of the aid would be retained. interest rate and have an extended repayment period. That portion of Federal Title IV aid that will be returned to the Financial need is defined as the difference between the cost of issuer must be repaid in the following order: education and the family’s federally calculated contribution to these 1. Unsubsidized Federal Stafford Loan costs, the Expected Family Contribution (EFC). Where need exists, 2. Subsidized Federal Stafford Loan the University assists in meeting costs within the resources available 3. Federal PLUS Loan to the institution. 4. Federal Perkins Loan Eligibility for aid is based upon the applicant’s financial need, the 5. Federal Pell Grant ability to meet individual program requirements, and the availability 6. Federal SEOG Aid of funding. 7. Any other Title IV program aid Typically, 75 percent of the University’s students enrolled on a 8. Other federal, state, or private student financial assistance full-time basis are eligible for some type of need-based aid. 9. To the student Therefore all students, undergraduate and graduate, are encouraged to apply. Retention of University Scholarships, Information on application procedures, types of aid, program Grants, and Awards requirements, educational costs as determined by the University, and Withdrawing students who have received University Scholarships, the students’ rights and responsibilities is detailed in the following Grants, and Awards are permitted to retain a portion of these funds pages. Most general questions will be answered in these pages. as an offset (payment) against tuition charges based on the duration Contact the Financial Aid Office to speak with your counselor for of attendance. For those students not receiving any Title IV program assistance with any specific questions you may have. aid, the portion retained is the same as the tuition charged under the general refund policy. For example, a student without any Title IV aid withdrawing before the end of the third week of classes will be Eligibility Criteria liable for 60 percent of tuition charges. This same student will also In order to qualify for financial aid a student must: receive credit for 60 percent of any University aid awarded. ¥ Be a U.S. citizen, or eligible non-citizen per Immigration and If a withdrawing student received Title IV Program aid in Naturalization Service (INS) regulations. addition to University Scholarships and Awards, the total amount ¥ Be admitted to the University. of aid retained from both sources is calculated using the Federal ¥ Not have received a bachelor’s degree or its equivalent. Some Title IV rules. forms of aid are offered to post-undergraduate students as specifically noted under “Bachelor’s Degree Holders.” ¥ Not have received aid for the maximum number of allowable Financial Holds semesters (eight). Students who do not satisfy their financial obligations to the ¥ Not have defaulted on a previous federal loan. University will have a financial hold placed on their record. Such a ¥ Be matriculated in a program that terminates in a degree hold may result in cancellation of the student’s preregistration and or certificate. will prevent the student from being permitted to register for future ¥ Be enrolled as a full-time student. (A full-time student is one courses until the financial hold is lifted. Furthermore, students with who is registered for at least 12 credits per semester.) The outstanding financial obligations to the University will not be eli- University offers some types of financial aid to part-time stu- gible to receive official copies of their transcripts or their diplomas. dents. For undergraduates, part-time is defined as 6-11.5 credits. To avoid incurring late fees and/or a hold on academic records, stu- For graduate students, part-time is defined as 4.5-8.5 credits. dents are expected to make arrangements to pay all tuition, fees, Some forms of aid are offered to less than full-time students as library fines and fees, and dormitory charges by the due date on their specifically noted under “Part-Time Students.” bill. Students are encouraged to apply early for financial aid. ¥ Maintain satisfactory academic progress as defined by the University. ¥ Apply for financial aid by the deadline. ¥ Demonstrate financial need as determined by the analysis of the Free Application for Federal Student Aid (FAFSA).

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 213 Deadlines attend in the fall because loan applications require six to eight weeks of processing time. Deadlines are used to assist the University in determining how We cannot guarantee that loan applications that are submitted many students wish to be considered for aid from the available after May 1, 2004, will be processed in time for fall billing. If a loan funds. We also use deadlines so that we will receive the necessary application(s) is submitted late, the student will be required to pay information, and be able to forward a response to you, in time for tuition from other resources and then wait to be reimbursed from you to make important decisions regarding your enrollment plans. loan proceeds. Students who miss the filing deadlines may not receive all of the aid for which they may have been eligible. Late applicants are also subject to out-of-pocket expenditures for aid that has not been PHEAA State Grant Deadlines—All Students processed, as well as the withholding of registration and class atten- The state’s deadline for receipt of the completed FAFSA applica- dance in the event of outstanding balances. tion is May 1, 2004, for the following year (2004-2005). All eligible students are considered for financial assistance Applications received after that date may render a student ineligible regardless of filing date, depending upon availability of funds. for PHEAA Grants as well as the other types of aid specified above. However, University-administered funds will not be used to replace federal or state grants, or loans for which a student may have been Duration of Eligibility eligible but for which he/she failed to apply successfully. Under federal and University guidelines, undergraduate students may continue to receive financial aid for only eight semesters, or Currently Enrolled Students until the first baccalaureate degree or its equivalent has been earned. The University of the Arts’ postmark deadline for submission Students are no longer eligible for aid once they have either com- of the FAFSA is March 15, 2004. pleted the requirements for the degree or have completed the All students who plan to attend the University during the Fall equivalent number of credits. 2004 or Spring 2005 semesters must file the FAFSA by the above Students may not receive undergraduate grants to complete deadline. Incomplete applications, and applications submitted after minors, double degrees, or teacher certification programs that extend March 15 will be considered only after on-time applications have beyond eight semesters. been awarded. Some types of aid (University Grants, Scholarships, Students are not permitted to delay graduation in order to con- SEOG Grants, Perkins Loans, Federal Work Study, and PHEAA tinue their eligibility for aid. Grants) are awarded on an on-time basis and may not be available to Students can also exhaust their eligibility for financial aid by otherwise eligible but late applicants. failing or withdrawing from courses. If you have questions about your status please contact the New Students Financial Aid Office. The University of the Arts’ postmark deadline for submission of the FAFSA is March 1, 2004. Financial Aid Application Procedure All students who plan to attend the University during the Fall 2004 or Spring 2005 semesters must file the FAFSA by the above Prerequisite deadline. Incoming students are considered on a rolling, funds-avail- To be considered for financial aid, students must be accepted for able basis after the 1st. Applicants are advised to submit all admission to the University or be currently enrolled and making sat- application materials by March 1, or as soon as possible. Some isfactory academic progress as defined by the University. sources of funding (as above) are limited and will not be available to otherwise eligible but late applicants. Requisite All students who wish to be considered for financial aid must file Award Letter Deadlines the Free Application for Federal Student Aid (FAFSA). The infor- The response date on the award letter is the date by which the mation must be released to the U.S. Department of Education and to University requests confirmation of the acceptance of the the University. University’s offer of financial aid. (Financial aid includes all offers The FAFSA is basic to the University’s Financial Aid application of Scholarships, Grants, Loans, and Work Study.) Students are not process and is essential to the determination of the student’s eligi- obligated to the University in any way by confirming the award, and bility for all types of aid (Pell, FSEOG, and PHEAA Grants, will not be penalized in any way by doing so. By confirming the University Scholarships, as well as Federal Work Study and loans). award, the student reserves those funds. A student cannot be considered for any type of financial aid until a If the University does not receive a confirmation from the stu- correct and complete FAFSA has been processed. dent we will assume that he/she does not wish these funds to be The University does not require the CSS, ACT, FAF, Profile, reserved, and will rescind the entire financial aid offer. or other financial aid applications to be considered for financial New students are strongly urged to confirm their awards from the assistance. University of the Arts even if they have not made their final college The Department of Education has provided an easy way to apply choice. electronically for aid. With Internet access, the FAFSA can be com- pleted and filed at http://www.fafsa.ed.gov. Stafford/PLUS Application Deadline: Students can also file using software provided by the Department The March 15, 2004, Stafford/PLUS deadline is a suggested of Education by downloading the FAFSA Express from the Depart- deadline. Eligibility for these loans will not be affected if applica- ment’s Web page at http://www.ed.gov/offices/OPE/express.html. tions are submitted after March 15. Students should submit loan Remember, no matter how a student decides to file, he/she should application(s) as soon as they have decided which college to submit only ONE application each year.

214 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 The paper FAFSA application must be mailed directly to the Those students who demonstrate exceptional artistic ability and out- processor in the envelope provided and requires approximately four standing academic achievement will be considered for University weeks to process. scholarships. Transfer students may be required to submit financial aid tran- To assist students and their families with financial planning for scripts to the University from post-secondary institutions attended in their enrollment, scholarship amounts are fixed and renewable so the current year, whether or not aid was received. This regulation long as the student makes academic progress. applies to transfer students who enroll beginning in January. It does not apply to transfer students who enroll beginning in September. Named Scholarships The University offers a number of scholarships that have been Declining Financial Aid donated by individuals or groups to help support promising artists. If a student declines his/her offer of financial aid or admission, the These named scholarships are awarded based on need and merit. University will rescind all offers of financial assistance (scholar- ships, grants, loans, and work study). If that student later decides to University Grant enroll at the University, he/she will be reconsidered for assistance at University Grants are need-based and are awarded by the that point. Eligibility for financial assistance may be greatly reduced Financial Aid Office to supplement all other financial aid assistance. at a later point, and will be determined on a funds-available basis. Students must be enrolled for at least 12 credits in order to receive Institutional Aid that is merit-based. Title IV Code The University’s Federal Title IV code is 003350. Federal/State Grants State Grant Information Pell Grant Residents of Pennsylvania (per PHEAA’s guidelines) will be eval- The Pell Grant is a federally funded program that awarded indi- uated for a PHEAA Grant by filing the FAFSA. PHEAA deadline vidual grants in amounts ranging from $400 to $4,000 in 2002-2003. May 1. FAFSA serves as the state grant application. Pell Grants are awarded to students who have not received a bach- Residents of Alaska, Connecticut, Delaware, District of elor’s degree nor been aided for the maximum number of semesters Columbia, Maine, Massachusetts, Ohio, Rhode Island, Vermont, or allowed. West Virginia, please note these additional deadlines: Eligibility is determined by the federal government and notifica- Connecticut deadline February 1: state grant application required. tion is sent directly to the student in the form of a Student Aid District of Columbia deadline June 28: district grant application Report (SAR). The student should expect to receive the SAR required. approximately four weeks after the FAFSA has been filed. The SAR Rhode Island deadline March 1: FAFSA serves as state grant should be reviewed for accuracy and corrected if necessary. The cor- application. rect SAR should be retained by the student as confirmation of West Virginia deadline June 28: state grant application required. receipt of the FAFSA. Students must enroll for at least three credits in order to be eligible for the Pell Grant. Students who are residents of these states and are currently University scholarships are awarded when students are admitted. receiving a state grant MUST file the Free Application for Federal Those students who demonstrate exceptional artistic ability and out- Student Aid (FAFSA). A separate state grant application form may standing academic achievement will be considered for University also need to be submitted to the higher education assistance agency scholarships. in the student’s home state. To assist students and their families with financial planning for If the state grant can be used in Pennsylvania, it is “portable.” their enrollment, scholarship amounts are fixed and renewable so Portable state grants may be less at UArts than if used at a college in long as the student makes academic progress. a student’s home state. Residents of states not listed above are prevented by their state PHEAA Grant from using their state grants in Pennsylvania. Awards are made to Pennsylvania residents who have not attained the bachelor’s degree nor been aided for the maximum Types of Aid number of semesters allowed (eight). Each student who completes a FAFSA will be considered for all Eligible students must demonstrate financial need, Pennsylvania of the following types of aid. Parental enrollment will not be consid- residency, and be enrolled for at least six credits. To continue to be ered when eligibility for University aid is calculated. eligible for state grant assistance, a full-time student must complete a minimum of 24 credits per academic year. An award letter may indicate an estimated state grant amount; Institutional Scholarships however, eligibility is determined by the state, and official notifica- and Grants tion is sent directly to the student beginning in May. University Scholarships NOTE: Students must meet state residency requirements in accor- University Scholarships are awarded on the basis of academic dance with PHEAA guidelines. PHEAA’s filing deadline is excellence and demonstrated talent. The Presidential, Promising May 1. Artist, and Artist Grant are types of University Scholarships. Other states have scholarship programs for their residents. University Scholarships are awarded when students are admitted. Information and applications are available from the respective state boards of education.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 215 Federal Supplemental Educational and that for most students this will be the most serious long-term Opportunity Grant (FSEOG) financial obligation yet undertaken. FSEOG is a federally funded University administered program. All first-time borrowers are required to attend an Entrance Interview These grants are awarded to needy students who do not hold a bach- before loan funds will be released by the University. Additional infor- elor’s degree. Typically, FSEOG grants are first awarded to Pell mation will be available at orientation and registration. Grant recipients who have met the filing deadlines on a funds-avail- All students must submit the Stafford Loan Application by able basis. March 15. Graduating students who have borrowed under any federal loan Outside Scholarships program (as well as those who leave the University prior to gradu- The University encourages students to explore all options for out- ating) are required to attend an Exit Interview. Students intending to side scholarship assistance. Local businesses, foundations, churches, discontinue enrollment at the University must contact the Financial unions, civic organizations, etc., often sponsor scholarships that can Aid Office. be used toward educational costs. A good place to begin the search for outside scholarships is on- Student Loan Programs line at www.fastweb.com. This is a free scholarship search service. The University of the Arts does not recommend that students pay Federal Perkins Loan (Perkins) fees for financial aid information, or for scholarship searches. Perkins is a federal loan that is need-based and is awarded by the As a service to students, the Financial Aid Office maintains a University. The Federal Perkins Loan is currently offered at a fixed scholarship notebook containing useful information about such five percent interest rate and is repayable to the University over a funding. This notebook may be viewed in the Financial Aid Office. maximum 10-year period. Repayment begins nine months after The Financial Aid Office must be notified if any additional graduation or cessation of at least half-time enrollment at an eligible awards are received. Notification of all grants and scholarships will institution in an approved program of study. be included in the award letter. Because Perkins loan funds are limited, this loan is offered to the earliest applicants whose Expected Family Contribution (EFC) is Student Loans lowest. Perkin loans are usually awarded to freshman and sopho- Student loans are available at low interest rates (capping at 8.25 more students (junior and senior students have greater eligibility for percent), and with extended repayment terms to assist students in Stafford loans). Notification of eligibility for this loan is included in meeting both tuition and living expenses. Because loan indebtedness the award letter. has serious implications, students should carefully consider the amount of their borrowing (both yearly and cumulative) and borrow Parent Plus Loan For Undergraduate Students the minimum necessary to reasonably meet those expenses that (PLUS) remain above the Financial Aid Award. The parent of a dependent student may borrow up to the cost of Students wishing to borrow should secure an application from the education (which includes living expenses) minus any other finan- bank of their choice. All students, regardless of state of residency, cial aid the student is scheduled to receive. Repayment begins 60 may borrow from Pennsylvania banks and are urged to do so. The days after loan funds have been disbursed. The PLUS loan interest Financial Aid Office can provide an application from one of our rec- rate is variable and caps at nine percent. Approval for the PLUS loan ommended lenders. is based upon credit history. All students must use the new Stafford application called the Loan applications are available from the lender of the student’s Master Promissory Note (MPN). Returning Students may secure a choice. The parent must borrow from the same lender the student MPN from the same lender used previously. New Students’ award has chosen for the Stafford loan, unless that lender does not partici- letter package should include an MPN. pate in the PLUS program. A PLUS loan cannot be approved until a Students who have previously received a Stafford using an MPN complete FAFSA has been processed. are not required to file another MPN for 10 years. Typically the loan application process requires six to eight weeks. Students who use PHEAA lenders must submit all loan applica- In order to deduct the anticipated proceeds from a PLUS loan from tions (MPN and PLUS) directly to PHEAA. Students who use the invoice, the loan must have been approved. Therefore, parents out-of-state guarantors must submit loan applications to the wishing to use PLUS proceeds toward the fall balance must submit a University’s Financial Aid Office. complete application by March 15 in order to deduct the amount of Students are encouraged to use a lender having PHEAA as a guar- the anticipated loan check from the fall invoice. antor. PHEAA has reduced the fees charged on student loans and provides financial incentives during repayment. NJ Class Loan If the student has previously borrowed under any of the student If a student’s parent is a New Jersey resident, he/she may be inter- loan programs, he or she is encouraged to use the same bank to ested in the NJ Class loan, which may allow payments to be deferred avoid having multiple loan payments upon graduation. while the student is enrolled. For information and application forms (Pennsylvania borrowers are required to use the same lender.) call 1-800-792-8670, or visit www.state.nj.us/treasury/osa. All loan applications are based on the FAFSA application; thus this application is prerequisite to the filing of the loan application. While the loan application is an element of the Financial Aid application process, it is also a separate transaction between the stu- dent and his or her bank. It is critical that the student understand that it is he or she alone who is responsible for repaying funds borrowed,

216 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Federal Stafford Student Loan (Stafford) PLUS/Stafford Applications for the Stafford loan are available from the lender of The lender will deduct origination and insurance fees from the student’s choice. Stafford and PLUS loans before they are disbursed. These fees can The University is pleased to recommend a preferred lender to total up to four percent of the principal amount borrowed. Thus, the those students who have not previously borrowed. Please contact the amount available from the loan to pay educational costs may be less Financial Aid Office for additional information. than the amount initially borrowed. A Stafford loan cannot be approved until a complete FAFSA has Students who are in default on a federal loan are not eligible for been processed. Students wishing to use proceeds from the Stafford Stafford or Perkins loans, or other financial aid while enrolled at The loan must submit a complete application by March 15. Students who University of the Arts. use Pennsylvania lenders must submit the loan application directly Students and their parents are strongly urged to make an appoint- to the lender. Students who use out-of-state lenders must submit the ment in the Financial Aid Office to discuss questions regarding any loan application directly to the Financial Aid Office. of the student loan programs. Under federal regulations, only one Stafford loan may be PHEAA Loan Line (to check on the status of your loan): processed for each student each year. 1-800-692-7392 or www.pheaa.org Remember: Stafford Loan Eligibility If a student uses his/her Stafford or PLUS loan proceeds toward the Undergraduate Students fall invoice, he/she must submit the loan application(s) by March 15. Undergraduate students are required to register for at least six credits each semester in order to receive funding from the Stafford Disbursement Amount program. The lender will deduct origination and insurance fees from Stafford loan eligibility is determined based upon the number of Stafford, PLUS, and other alternative loans before they are dis- credits the undergraduate student has completed, according to the bursed. These fees can total up to four percent (or more for some following schedule: alternative loans) of the principal amount; thus, the amount available from the loan to pay educational costs may be less than the amount 0 Ð 29.75 credits Freshman maximum $2,625 borrowed. 30 Ð 59.75 credits Sophomore maximum $3,500 60 Ð 89.75 credits Junior maximum $5,500 Student Employment 90 + credits Senior maximum $5,500

The above loan amounts may be subsidized or unsubsidized Federal Work Study (FWS) depending upon the student’s financial eligibility. If the loan is sub- FWS is a federally funded program administered by the sidized the student is not responsible for making any interest or University. Eligibility for this program is based upon the availability principal payments during enrollment. If the loan is unsubsidized of funds to the University and the student’s EFC. the student is responsible for making interest payments during The Financial Aid Office will make a determination of the stu- enrollment. dent’s eligibility to earn money through the FWS Program. Undergraduate students who are independent and dependent stu- Notification of eligibility will be included in the Award letter. dents whose parents cannot qualify for the PLUS loan are eligible A FWS award is not an offer or a guarantee of a job; it is the for the following additional amounts under the Unsubsidized amount a student is eligible to earn should she or he secure a job. Stafford Program. Work study awards are not applied against the invoice. Payment is made directly to employed students by University payroll check. 0 Ð 29.75 credits Freshman maximum $4,000 Eligible students are permitted to work up to 20 hours weekly 30 Ð 59.75 credits Sophomore maximum $4,000 when classes are in session. Students are paid at least minimum 60 Ð 89.75 credits Junior maximum $5,000 wage and hours may be arranged to accommodate the class 90 + credits Senior maximum $5,000 schedule. The 2003-2004 FWS award can be used between July 1, 2003 and June 30, 2004. Graduate Students Jobs are usually available throughout the University in academic Graduate Students are required to register for at least 4.5 credits departments, security, University offices, the library, etc. Positions each semester in order to receive funding from the Stafford program. require various levels of skill and experience. For students who are interested in working in the larger commu- Subsidized Stafford Loan Eligibility up to $ 8,500 nity, there are several off-campus work study positions available. Unsubsidized Stafford Loan Eligibility up to $10,000 These jobs are located at sites such as community and arts organiza- tions, theaters, and museums. (Total graduate maximum Stafford eligibility per academic year The Student Employment Handbook contains expanded informa- $18,500) tion about FWS and NFWS, job openings, and additional information for fall placement. The handbook is available in the Financial Aid Office in late summer. Non-Federal Work Study (NFWS) Students who do not qualify to work under the Federal Work Study program may work on-campus under the NFWS program.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 217 Information about job availability and placement is as listed in the The award notice is subject to revision under the following Federal Work Study section. circumstances: The Student Employment Handbook details all of the regulations 1. If government funding levels to the University are reduced, governing the Federal and non-Federal Work Study programs. individual awards will be adjusted accordingly. 2. Verification - The Financial Aid Office is required by federal Students are reminded that falsifying time cards is a criminal regulation to resolve any discrepancies in information submitted per offense, which can subject them to criminal prosecution, discipli- verification with that already in a student’s file. Any discrepancies nary action, expulsion, and loss of all financial aid. may result in revision to a student’s aid amounts and/or types. 3. As above, if at any point in the year we become aware of infor- Award Notification mation that conflicts with other documentation in the student’s file, we will resolve the discrepancy and revise the award accordingly. Award letters will be sent to new students beginning in March and 4. Outside Scholarships - Per federal regulation, a student is not to returning students beginning in June. The Financial Aid Office permitted to be “overawarded.” That is, a student’s total amount of staff will be available to counsel students at any point during the scholarships, grants, loans, and work study may not exceed the stu- application process. Students should be aware that some aid is con- dent’s calculated need. If a student would be overawarded due to an ditional on the availability of funds to the University, and if these outside scholarship, we are required to adjust the other elements of funds are reduced, the University will reduce aid accordingly. the aid package to eliminate the overaward. We encourage students Students must return a signed award letter with acceptance of aid. to seek outside scholarships, and will adjust institutional aid only if Failure to return the award letter may result in cancellation of aid. absolutely necessary. If an award is estimated, that means some additional steps must 5. The University may substitute other aid funds of equal be taken before the student can receive those funds, such as com- amount and type at any point in the year at its discretion and pleting verification. To receive the Stafford, the student must submit without any notice. the loan application and his/her funds must be disbursed. Stafford loan proceeds are disbursed electronically or by paper check. He/she must endorse the Perkins loan promissory note in order for this loan Special Circumstances to be credited to his/her account. Income Reduction Additional steps are required to claim these forms The FAFSA collects information about a family’s income and of financial aid: assets from the previous year (2002). For most people this informa- tion is a good predictor of the current year’s (2003) income, since Federal Work Study most people do not experience wide swings in income from year In order to claim a FWS award the student must locate an eligible to year. job. Once hired, the student must come to the Financial Aid Office to If, however, a family’s income in the current year will be signifi- complete the necessary payroll paperwork. Students cannot work, cantly different (more than 10 percent) from last year’s, the family nor can they be paid, until this paperwork is submitted and proper should notify the Financial Aid Office in writing, including all identification is documented. FWS cannot be deducted from the available documentation. Reductions in income that are caused tuition invoice. by involuntary job loss, unusually high unreimbursed medical expenses, separation, divorce, death of a wage earner, or the like will Pell Grant be considered. Approximately four weeks after the FAFSA is filed, the student If a family’s circumstances meet these criteria, the University will will receive a Student Aid Report (SAR). This document will notify calculate the financial aid award based upon the estimated current a student as to Pell Grant eligibility. All of the information on the year (2003) figures for the fall semester. At the end of the fall SAR must be correct and complete. semester the family will be required to provide documentation (such The award letter will list the Pell Grant amount. Changes to the as final pay stub, or an estimated 2003 return) for evaluation of the FAFSA information may affect the student’s Pell Grant eligibility. spring semester’s award. Unfortunately, the University is not able to consider reductions in Perkins Loan income due to voluntary job changes, back taxes owed, high con- To claim these funds the student must endorse a Perkins promis- sumer debt, multiple mortgages, employment bonuses received in sory note in the Student Billing Office. Funds cannot be credited the previous year, overtime, self-employment losses, fluctuations in until a complete, correct note is negotiated. income from commission sales, or discretionary purchases. PLUS and Stafford Loans Divorce or Separation These loans must be applied for through the student’s lender. When a married student or parent separates from or divorces Proceeds from these loans are disbursed to the University. Most his/her spouse subsequent to the filing of the financial aid applica- Stafford loans will be disbursed to the University electronically and tion, the custodial parent should notify the Financial Aid Office in will not require the student’s signature. If a student loan is disbursed writing. by check, it cannot be credited to his/her account until he/she signs In the case of separation or divorce, the Financial Aid Office is the check. (Stafford loan checks will be available in the Finance permitted to discuss the student’s record only with the custodial Office for signature; PLUS checks will be mailed to the parent bor- parent. rower.)

218 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Death Students who receive University-sponsored scholarships may be Sadly, the University occasionally is called upon to assist a student required to maintain a GPA greater than 2.0 (“C” average). The stu- whose parent or spouse has died subsequent to the filing of the finan- dent will be notified of specific GPA requirements when receiving cial aid application. Should this occur, the Financial Aid Office should notification of the scholarship. Specific scholarship GPA require- be contacted immediately, and it will offer every assistance possible. ments are as follows: Presidential Scholarship 3.0 Dependency Override Promising Artist Scholarship 2.5 The Financial Aid Office is occasionally asked to re-evaluate a Artist Grant 2.5 student’s status due to the student’s assertion that he or she should University Grant 2.0 be considered independent of parental support. Students who have been dismissed from the University are not eli- The guidelines for dependency are set by federal law, and thus gible for financial assistance of any kind during the first semester of each student must first be evaluated against them. A dependent stu- re-enrollment, when the first semester of re-enrollment is at least the dent is someone who is younger than 24, is not a veteran, is not a student’s third semester of censure. graduate or professional student, is not married, is not an orphan or ward of the court, or does not have legal dependents. Insufficient Credit Accumulation An independent student is someone who is older than 24, a vet- In addition to the qualitative standard (GPA), students are also eran, a graduate or professional student, married, or has legal required to meet a quantitative measure of academic progress (rate of dependents. (See the FAFSA.) credit accumulation). Students who receive merit- and/or need-based Federal and institutional policy is that the first responsibility for aid must earn sufficient credits each semester toward graduation. college costs is the student’s and his/her family’s; thus appeals are Students who enroll for at least 12 credits during a given semester rarely granted. must complete, with a grade of “D” or higher, at least 12 credits in A student who wishes to be considered independent must write a order to continue to receive financial assistance. letter of appeal to the Financial Aid Office. The letter must clearly Although 12 credits is the minimum per-semester credit accumu- state the reasons for appealing the dependency status. The student lation to maintain eligibility for financial assistance, the student will will be required to document his/her means of support as well as NOT be on track to graduate in four years at this rate. Also, “D” other items. Please contact the Financial Aid Office for additional grades will cause the student to fail the qualitative (GPA) progress information. standard. Each student’s total credit accumulation is reviewed at the end of Other Appeals each semester. Students who complete fewer than 24 credits per aca- The Financial Aid office cannot consider proposals based on any demic year will be placed on FINANCIAL AID PROBATION for circumstances other than those listed above. Regrettably, the the following semester. If, by the end of the probationary semester, University cannot reconsider the financial aid award in response to the student has not earned at least 36 credits (for the three-semester offers from competing institutions, or as a means of recognizing the period being reviewed), the student then loses his/her eligibility for student’s academic or artistic achievement. financial assistance. Students may fail the quantitative standard regardless of GPA. The student’s eligibility for financial assistance will be restored Academic Progress when the student has earned at least 36 credits and has met all other Students who receive assistance in any form, which includes but academic progress requirements. is not limited to University grant, scholarship, State grant, Federal Pell Grant, FSEOG, FWS, Federal Perkins Loan, Federal PHEAA Grants PLUS/Stafford, etc., must maintain satisfactory academic progress The state grant agency requires that a student earn a minimum of in their program of study in order to continue to receive those funds. 24 credits each academic year in order to continue to receive state Satisfactory academic progress for students at the University is grant assistance. Any student who earns fewer than 24 credits will defined as not be eligible for his/her state grant for the first semester of the fol- 1. earning between 12 and 18 credits each semester, and lowing year. Students who enroll for a single semester are required 2. maintaining a minimum cumulative and semester grade-point to earn at least 12 credits to retain their PHEAA Grant. The average (GPA) of at least 2.0 (“C” average). University will not replace funds for which the students has lost If a student’s semester or cumulative grade-point average is below eligibilty. 2.0 (“C” average), he or she is automatically placed on probation and required to attain at least a 2.0 cumulative grade-point average by the end of the next semester, and meet other requirements as Financial Aid Academic Progress specified by the dean’s office. Appeals Students may be required to maintain a GPA higher than 2.0 in some departments or majors. Thus, it is possible to be placed on pro- University-Administered Financial Aid bation at higher GPAs. The University reviews the academic standing of all students at A student who does not meet the above-cited grade-point the conclusion of each semester. Students who have not met the aca- average and credit load requirements will jeopardize his/her demic progress standards required for continued financial aid financial aid eligibility. eligibility have the following options for appealing loss of aid. Students who have had two semesters of academic probation are Please note—under federal privacy guidelines we are only not eligible to receive financial aid of any type during a third permitted to discuss academic matters with the student. semester of academic probation.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 219 If the student wishes to appeal the loss of financial aid, except Students are reminded that withdrawing from their courses (either PHEAA state grant, he or she may do so in writing to the Financial in full or in part) may cause them to lose their eligibility for aid in Aid Office. (PHEAA state grant appeals must be addressed to current and future semesters. PHEAA). Appeals are reviewed by the Financial Aid Appeal To avoid unexpected balances, students must contact the Financial Committee. Appeal letters must be written by the student and must Aid Office with any questions pertaining to this subject. document significant, unusual circumstances that contributed to aca- demic difficulties. (Significant circumstances include events like Graduate Students major illness, severe injury, or family upheaval such as death or Graduate students are eligible to apply for Stafford loans and divorce). Students are required to provide documentation of the cir- should refer to the section on student loans for further information. cumstances upon which the appeal is based. Graduate students may also be eligible for assistantships or fellow- In order to be considered the appeal letter requesting reinstate- ships through the department in which they are enrolled. Contact the ment of aid for a given semester must be received in the Financial departmental office for additional information and application Aid Office prior to the first day of classes for that semester. Students instructions. are cautioned that the committee that reviews financial aid appeals Graduate students are required to maintain satisfactory academic meets on an as-needed basis and generally requires approximately progress in order to continue to receive financial aid as specified in three weeks to respond to appeals. Appeals that are submitted close this catalog. to the beginning of any semester are unlikely to be reviewed prior to Students who have attained a bachelor’s degree or its equivalent the start of classes. Thus, students should be prepared to pay their are not eligible to receive Pell, PHEAA, FSEOG, FWS, Perkins, and invoice in full. If the appeal is granted the student will be reimbursed most other forms of financial aid including institutional grants. from any credit balance created by reinstated financial aid. Graduate students who are in default on a federal student loan are The University does not have the authority to make exceptions to not eligible to receive assistance of any type while enrolled at the federal financial aid policies and will not entertain any requests to University. do so. For example, federal law requires that students be enrolled on The following Web site is helpful for graduate students: an at least half-time basis for Stafford loan eligibility. The www.gradschools.com. University cannot and will not make exceptions to this and other federal regulations. Students who have been placed on academic probation and wish Summer MFA Students to appeal their probationary status should follow the guidelines Students who enroll at least half-time (4.5 credits) in the Summer under the Academic Review section in this catalog. MFA program may borrow under the Stafford Loan program. For those financial aid policies under which the University has Students who matriculated as of June 2000 and follow the 12, 4.5, discretionary authority to make exceptions, the Financial Aid Appeal 4.5 credit pattern are permitted to borrow during all semesters of Committee’s decisions are final and cannot be further appealed. enrollments and qualify for deferments; these students may borrow up to $18,500. PHEAA State Grant Appeals Students who matriculated prior to June 2000 and follow the 10, 3, 3 The University has no authority to make exceptions to PHEAA credit pattern are not permitted to borrow during the fall and spring state grant policies. Students wishing to appeal the loss of state semesters. Summer MFA students who are enrolled less than half-time grants must write a letter of appeal to PHEAA. Appeal letters must are not permitted to borrow and do not qualify for deferments. include documentation of those significant events (major illness, For the summer of 2003, Summer MFA students who enroll for severe injury, or family upheaval such as divorce or death) that 10 credits may borrow up to $11,000, less any other aid. impacted the student’s academic performance. Students wishing to appeal the loss of state grant eligibility are urged to do so as soon as Transfer Students such information is known, as the state requires several weeks (typi- Transfer undergraduates are eligible for aid and should apply fol- cally 8-10) to respond to appeals. lowing the same application procedures as other undergraduates (with exceptions listed below). Change in Enrollment Status All transfer students may be required to submit a Financial Aid Unless specifically designated otherwise, all awards are issued Transcript (FAT) from each prior post-secondary institution attended based upon the student’s anticipated enrollment as a full-time under- in the current year, whether or not financial aid was received while graduate (completing 12 credits or more per semester, in a enrolled. This regulation applies to transfer students who enroll degree-granting program). beginning in January. It does not apply to transfer students who Students who become less than full-time or who enroll as “non- enroll beginning in September. degree” may lose their eligibility for aid in full or in part. Transfer students who have borrowed the undergraduate max- The Financial Aid Office periodically reviews all student accounts imum under the Stafford program are not eligible for continued and will immediately remove any aid credited to the account of a Stafford assistance while enrolled at the University. student who has failed to satisfy progress or enrollment require- Any transfer student who is in default on a federal loan is ineli- ments as above. gible for financial aid of any type while enrolled at the University. Students who are considering withdrawing (either from the Transfer students who enroll for the spring semester should be University or from individual classes) are urged to meet with a aware that financial aid received for enrollment during the fall financial aid counselor to discuss the impact of the withdrawal on semester at another institution is not transferable. Students must their eligibility for aid. Please read the information about refunds in reapply for most forms of aid at the University. Contact the the “Tuition and Expenses” section of this Catalog. Financial Aid Office for additional information and instructions.

220 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Bachelor’s Degree Holders if study abroad will be a viable option, and to help plan for the financial responsibilities. Students who have earned a bachelor’s degree or its equivalent and who enroll as undergraduates are eligible to apply for Stafford Financial Aid that can be used abroad: loans (with exceptions below). In some cases these students may also be eligible for University-sponsored aid. Students are not eli- 1. Federal Pell Grant gible to receive PELL, PHEAA, FSEOG, and Perkins. 2. Federal SEOG Students who have already borrowed the undergraduate maximum 3. Federal Perkins Loan under the Stafford program are ineligible for continued Stafford 4. PHEAA State Grant assistance while enrolled at the University. 5. Federal Stafford Loan Those who are in default on a federal student loan are not eligible 6. Federal Plus Loan for aid of any type while enrolled at the University. These forms of aid are subject to reduction if costs for study Part-Time Students abroad programs are less than costs at The University of the Arts. Part-time students who are enrolled in degree programs may be eligible for Pell, University, and PHEAA grants, as well as Stafford Financial Aid that cannot be used abroad includes all University- loans. sponsored aid, such as: Part-time students are subject to all requirements governing the financial aid programs, except that they be enrolled full-time. 1. Talent Scholarship Part-time students are not eligible for merit-based aid. 2. Presidential Scholarship Part-time students should follow application procedures as 3. University Grant detailed in this catalog. 4. Promising Artist Award 5. Artist Grant Continuing Education Students 6. Named Scholarships Students who enroll through the Continuing Education program 7. Graduate Grants, Scholarships, and Assistantships are eligible for a very limited selection of loan programs. Continuing Education students are not eligible for any other type Students who plan to study abroad should apply for financial aid of financial aid. Contact the Financial Aid Office for additional adhering to normal deadlines and procedures. Additionally, such stu- information. dents must provide The University of the Arts’ Financial Aid Office with the following: 1. Contact person at coordinating university or college including International Students their address, telephone, and fax numbers. Students who are neither U.S. citizens nor eligible noncitizens (as 2. Power of Attorney, duly executed (if documents will require confirmed by the Immigration and Naturalization Service) are not your signature in your absence.) eligible to receive any form of Federal Title IV financial aid while 3. Consortium Agreement, completed. (available from the enrolled at The University of the Arts. Financial Aid Office.) International students will be reviewed for scholarships when 4. Contact Financial Aid Office before final departure. It will be offered admission. Those students who demonstrate exceptional necessary to maintain close contact with our office to assure aid is artistic ability in their portfolio review or audition will be considered processed before you leave the country. for the University’s Scholarship Program. International students may be eligible to borrow money through a Reminders: very limited selection of loan programs. International students must 1. The study abroad program must be approved by both the aca- have a U.S. citizen co-signer. Contact the Financial Aid Office for demic dean and the University’s Office of the Registrar. Contact additional information. those offices for additional information and procedures. 2. Students must begin all paperwork at least six months prior to Study Abroad and Off-Campus Study the semester abroad. Students who wish to study abroad or at another U.S. school for 3. In most countries students will not be permitted to earn wages, one or two semesters as part of the degree program at UArts will so they should be prepared to have sufficient spending money. need the advice and approval of their department chair, a written 4. Students may not use financial aid for unapproved programs agreement in advance of the courses, and a description of how they abroad. In order to be eligible for financial aid, the student must will transfer back into the degree program. This off-campus study is enroll through a college or university that is approved for participa- normally best done in the junior year. Interested students should tion in the Federal Title IV programs. begin by making an appointment in the Dean’s office to discuss their 5. Students may not use the extended payment plan (TMS) to pay plans at least six months before the program begins. Appointments for tuition. with the Registrar, Financial Aid, and Billing offices are also recom- mended at that time. If the student has financial aid, he/she should Budgets register during the normal registration period. While away, the stu- Educational costs include not only tuition and fees, but also indi- dent should keep the Financial Aid Office informed of any changes rect costs such as room, food, books, supplies, and personal in status. expenses. Direct costs reflect the actual amount a student will be The following information should be used to assist in determining billed by the University. Indirect costs are what a typical student

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 221 might expect for out-of-pocket expenses such as supplies, books, Tuition Tax Benefits clothing, food, medical expenses, personal items, and transportation The Taxpayer Relief Act of 1997 includes tax credits for educa- over a nine-month period. tion. The Hope Scholarship is a tax credit of up to $1,500 that covers Naturally, one’s own habits and personal spending patterns will 100 percent of the first $1,000 in qualified tuition and related dramatically influence these costs. Therefore, these are estimates expenses, and up to 50 percent of the second $1,000, required for only. enrollment during the first two years of college. These factors are used in formulating a student’s budget and The Hope tax credit is generally available for tuition and fees determining financial need. The Financial Aid Office will assign paid, less grants and scholarships, for classes that begin on or after each student a budget depending on the information provided on the January 1, 1998. The credit is phased out for single taxpayers with FAFSA. If the budgets shown below differ significantly from the adjusted gross income between $40,000 and $50,000 ($80,000 to expenses you expect to incur, please inform the Financial Aid $100,000 for joint returns). Students who do not qualify for the Office. Hope Scholarship may qualify for the Lifetime Learning Credit. While certain academic departments may recommend that stu- For specific information about how these tax credits may affect dents have their own computers, the University’s students are not you, contact your tax professional. required to provide their own computers. Therefore, the University will not accept responsibility for the funding of student-owned machines. Students interested in purchasing computers are welcome Confidentiality and Privacy of to contact the Academic Computing Office for advice on hardware Financial Aid Information and software selection, and information on the educational discounts available. For more information, please refer to the Academic FERPA (Family Educational Rights and Privacy Computing section of this catalog. Act of 1974) Under FERPA educational privacy and access rights accrue to the Estimated Expenses for 2003-2004 student when she/he turns 18 OR enrolls in a post-secondary institu- These figures are intended for your use in estimating your costs tion. The University of the Arts is a post-secondary institution. for the upcoming academic year. Persons who have applied to but who have not attended the University as an enrolled student are not covered under FERPA. Resident/ Under institutional policy, applicants are extended the same privacy Commuter Off-Campus Graduate and access rights to their financial aid information as students. Tuition (12-18 credits) $20,860 $20,860 $20,860 Applicants, students, and parents should be aware of the fol- General Fee 850 850 850 lowing institutional financial aid privacy policies. Housing — 5,800 — The financial aid staff is permitted to discuss or otherwise dis- Subtotal $21,710 $27,510 $21,710 close a student’s financial aid information to the following parties: 1. the student. Indirect Expenses 2. the student’s parent(s) whose information appears on the FAFSA. Books & Supplies 2,000 2,000 2,000 3. other University officials having a legitimate educational Housing 2,300 — 7,300 reason to know the student’s financial aid information (e.g. staff in Food 1,800 1,800 1,800 the billing office so that they can manage the student’s account). Living Expenses 1,690 1,690 1,690 4. external agencies and organizations such as guarantors, lenders, Estimated Total $29,500 $33,000 $34,500 state grant agencies, and auditors that have a legitimate reason to know the student’s financial aid information (i.e. staff at such agen- Commuters cies authorized to process loans and grants for the student). 5. external federal agencies granted such rights under FERPA Students who live within reasonable commuting distance of the (e.g. DOE, INS, CSPCA, et cetera). Under FERPA, institutions are University and reside with parents or relatives. required to disclose a student’s information (sometimes without Resident/Off-Campus notification to the student) in response to commands from the courts (typically subpoenas) and demands from specific federal agencies. Students who reside in University-owned housing or who reside The Financial Aid staff will comply with all lawfully issued in housing that is owned by neither the University nor their parents demands for information from the entities identified in the FERPA or relatives. Students who live within commuting distance of the regulations and will (or will not) notify the student as required. University will not be funded as residents, or as off-campus. Students and parents should be aware that their signatures on the FAFSA and other financial aid documents (e.g. loan applications) Graduate Students authorize the release of their information to certain federal and state Most graduate students maintain their own homes and have corre- agencies. Please read the FAFSA and other financial aid documents spondingly higher living expenses. Graduate students who live with for more information. parents or relatives will be assigned a commuter budget. Depending upon the scope of the information requested by the student or other authorized parties, the Financial Aid Office may Part-Time Students require time to present the records requested. When the information Budgets for part-time students are determined on an individual requested cannot be produced immediately the Financial Aid Office basis. may require such time as is permitted under FERPA regulations to retrieve and present the records requested.

222 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 The Financial Aid staff is not permitted to discuss or otherwise students so identified will be billed for all aid disbursed and may disclose a student’s Financial Aid information to others including face prosecution by the Department of Education, which may result but not limited to: in fine, imprisonment, or both. 1. the student’s parent(s) or stepparent(s) whose information does While the Financial Aid Office staff is available to assist students not appear on the FAFSA (the non-filing parent) without written through the application process, it is the student’s responsibility to permission from the student and the filing parent. see to the correctness and completeness of his or her application. If a 2. the student’s parent(s) or stepparent(s) whose information does student receives notification that his/her FAFSA or loan application appear on the FAFSA when the parents have separated or divorced is incomplete, the student must determine what is necessary to com- and the other parent has been identified as the custodial parent, plete the application(s) and submit the required information. without written permission from the student and the custodial An application for financial aid will have no effect on the decision parent. concerning admission. The admission decision is made without 3. high school guidance counselors and teachers. access to financial aid data. 4. the student’s spouse. 5. interested relatives, neighbors, and friends. Application for 2004-2005 ¥ File the 2004-2005 Free Application for Federal Student Aid The Financial Aid Staff is not permitted to discuss or otherwise (FAFSA) by March 15, 2004. disclose academic information (which includes but is not limited to ¥ Register for the Fall 2004 semester in April 2004. scholarship eligibility, financial aid eligibility, grades, grade-point average, academic standing, or probationary status) to anyone Additional Sources of Financial Aid (except the federal and state agencies responsible for processing the A helpful way to begin the search for additional financial assis- student’s financial aid or having authority under FERPA to access tance is on the Internet at www.fastweb.com. Additional financial such information) other than the student (whether or not the student aid Web sites are listed below. Students are cautioned not to pay for is dependent, whether or not the parent pays the invoice) without the financial aid information; these are free Web sites. The Financial Aid student’s written authorization. Office also maintains a notebook of scholarships. www.pheaa.org Disclosure Authorization www.fafsa.ed.gov When extraordinary circumstances exist that prevent the student www.finaid.org from accessing and understanding Financial Aid information the www.fastweb.com Financial Aid staff will discuss normally confidential information www.cashe.com with the individual(s) the student designates on the disclosure www.ed.gov authorization form. Students may request a disclosure authorization www.usagroup.com form from the Financial Aid Office. Students must complete and www.cns.gov sign the disclosure authorization form in the Financial Aid Office in the presence of a Financial Aid staff member. Students can rescind the disclosure authorization at any time. Due to the highly sensitive For Additional Information nature of financial aid and academic information, facsimiles, photo- Listed below are numbers to call if a student receives an incom- copies or mailed disclosure authorization forms will not be plete notification or does not receive notification within six weeks of accepted. application filing. Rights and Responsibilities To check the status of your FAFSA: The receipt of financial aid is a privilege, which creates both 1-319-337-5665 rights and responsibilities. 1-800-4-FEDAID Students have the right to know the method used to determine www.fafsa.ed.gov their need; the right to have access to information and records used in determining need; and the right to be awarded aid as equitably as PHEAA Grant Line PHEAA Loan Line funds permit. 1-800-692-7435 1-800-692-7392 Students applying for financial aid are responsible for accurately www.pheaa.org www.pheaa.org portraying financial resources and circumstances and notifying the Financial Aid Office of any changes in status; for applying in a The University of the Arts Office of Financial Aid timely manner; and for maintaining satisfactory academic progress 1-800-616-ARTS 1-215-717-6170 and good standing. www.uarts.edu fax 1-215-717-6178 Students who fail to maintain adequate progress will be placed on [email protected] probation. Failure to correct academic deficiency will result in the loss of financial aid until the required credits and grade-point Inquiries and requests for application forms should be directed to: average have been earned. Students or parents who knowingly provide false information on The University of the Arts any financial aid form (financial aid forms include but are not lim- Office of Financial Aid ited to the FAFSA, verification forms, Work Study time cards and 320 South Broad Street loan applications) will be denied financial aid and will be refused for Philadelphia, PA 19102 all subsequent years without the possibility of appeal. Additionally,

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 223 Jefferson Family Medicine Associates Student Services Telephone: 215-955-7190 JFMA is located at: John Klinzing, Dean of Students 833 Chestnut Street, Suite 301 [email protected] By appointment through Health Services Gershman Hall JFMA hours: 401 South Broad Street, Room 309 9:00 a.m. to 5:00 p.m. Monday, Tuesday, Wednesday, Friday 215-717-6618 1:00 p.m. to 5:00 p.m. Thursday If an ambulance is necessary, the student will be billed for this The Student Services Division consists of a group of profes- service. The cost of the emergency room visit is the responsibility of sionals committed to assisting students of the University in reaching the student. their goals. The division provides students with opportunities to Because of the high cost of medical care, The University of the develop the interpersonal, leadership, organizational, and communi- Arts strongly recommends that students have adequate health insur- cations skills that will serve them on a personal and professional ance to cover unforeseen illness or accident. For those students not level. The office of the Dean of Students administers and coordi- enrolled in an insurance program of their parents and who need low- nates student services and represents student concerns to campus cost insurance, the University offers various insurance plans. groups, faculty, staff, and administration. Information and brochures may be obtained at the Health Office. Health Records Counseling Center All entering students must have a physical exam, complete the Attending college can be a time of major adjustment for both Student Health Form, and file it with the Office of Health Services. undergraduate and graduate students. There are times when students In addition, the Commonwealth of Pennsylvania insists that univer- need support to help them work through this transition. The sities screen for immunization deficiencies of all first-time students. University of the Arts Counseling Center offers counseling and Students failing to meet these requirements will not be allowed to workshops that can provide this support. attend classes. If a student is seeing a psychiatrist at home, the University recom- mends that he/she establish a relationship with a professional closer Anne Whitehead, Director to the University. This will help monitor symptoms and medications Anderson Hall Office: 215-717-6230 in a more consistent way and provide a more immediate level of care 333 South Broad Street, Room M-36 should a crisis arise. Counseling and Health Services can help with referrals to other professionals. Terra Building Office: 215-717-6232 All counseling and medical issues are strictly confidential. 211 South Broad Street, 4th floor, Room 401 As with medical emergencies, students are strongly encouraged to carry health insurance for psychological emergencies. Student Activities/Special Events Brian Hainstock, Director of Counseling The Student Activities Office sponsors a variety of activities to 215-717-6614 complement the academic programs. Annual events include a Gershman Hall Halloween party, a Fall Carnival, and the popular UArts Late Night 401 South Broad Street, Room 308 Skate. Other events include Grocery Bingo, open mic nights, and trips to New York and Washington, D.C. Students play a major role in determining the character of the stu- Health Services dent life program. There are many opportunities for involvement and The University maintains a health office with a Registered Nurse leadership. The University Student Council helps develop, plan, and from Monday through Friday during the academic year and for six implement changes that benefit the student body. Students are wel- weeks in the summer. First aid is rendered, minor illnesses treated, comed and encouraged to join this organization, which acts as the and appropriate referrals to other health professionals are made. voice of the student body in the University governance system. Health counseling is offered, emphasizing disease prevention, health Student clubs and organizations also contribute to campus activi- maintenance, stress control, and wellness activities. ties, and students are encouraged to investigate the opportunities Medical services are offered to UArts students by contractual these groups have to offer. Organizations include the African agreement with Jefferson Family Medicine Associates (JFMA), a American Student Union, UArts Christian Fellowship, Fencing group of physicians who specialize in Family Medicine Practice. Club, Green Team, Rainbow Connection, and Gallery One. Students may use these doctors as they would use their family physi- To encourage participation in sports and physical fitness, the cian at home and need only a referral from the University’s nurse to University offers partially subsidized membership in a local fitness obtain an appointment. Besides treating acute and chronic illnesses, center. For more information about any of these opportunities, con- there are services for drug abuse, sexually transmitted diseases, birth tact the Student Activities Office. control, and mental health. University of the Arts students are not charged for these office visits. There will be charges for these serv- Sandra K. Tilford, Director of Student Activities ices if specialists are called in, if X-ray or laboratory work is 215-717-6615 needed, and for emergency room visits. Gershman Hall In the event of an emergency after office hours, JFMA physicians 401 South Broad Street, Room 313 are on call 24 hours a day, seven days a week, and may be reached by phone.

224 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Residential Life Professional and peer tutoring are available to undergraduate stu- dents for general skills and for specific subjects or courses. The University of the Arts has made a strong commitment to pro- Computer-assisted academic instruction is also available. viding a supportive living/learning environment. The University has The International Student Advisor will also assist students from four residence halls on campus. All residence halls are furnished and abroad in securing support services. Although students may be have separate bathroom and kitchen facilities in each apartment. referred to the services by their instructors, students are also wel- Each building has laundry facilities and 24-hour security and main- come to avail themselves freely of these support services. tenance. All residence halls are “smoke free.” For more information, please contact: Furness Hall is a historic remodeled building highlighted by its Anita Lam, Director high ceilings and tall windows. It is a four-story building with two Academic Support Services separate wings and has large studio, and one- and two-bedroom 215-875-2262 apartments, housing three to four residents. 1500 Pine Street, Room 102 The 1500 Pine Street Residence Hall is a 10-story building, which [email protected] has studio and one- and two-bedroom apartments, housing two to five residents. It features hardwood floors and a studious environment. Academic Achievement/ACT 101 The 1228 Spruce Street Residence Hall is a recently acquired Program eight-story building with studio apartments housing two students. The Academic Achievement/ACT 101 Program (AAP) is part of It features walk-in closets. the Higher Education Opportunity Act of the Commonwealth of The 311 Juniper Street Residence Hall is also a recently acquired Pennsylvania. At The University of the Arts, the purpose of the pro- and newly renovated 12-story building with one- and two-bedroom gram is to provide developmental maintenance and transition apartments housing two to four students. It features spacious services to students who need preparation in arts and academics. kitchens with built-in microwave ovens, air conditioning, wall-to- Students selected to participate in the program must be Pennsylvania wall carpeting, and Internet/cable hookups. residents with financial and/or academic needs. With the extra sup- All living environments are supervised by specially selected port of the AAP, these students become a highly motivated, cohesive Resident Assistants. RAs are upper-class students, trained in peer group whose determination to succeed is reflected in their high advising and crisis intervention, who assist students in their adjust- retention and success rates. ment to college as well as to life in the city. The residence program Each year, a small number of students receive conditional admis- is supervised by the Director of Residential Life. sion to the University under the Academic Achievement/ACT 101 It is important for residents to understand that they must abide by Program. These students are mandated to attend the Summer Bridge the standards listed in the housing contract. Failure to do so makes Intensive, receive tutoring and counseling during the semester, and them subject to the penalities listed in the contract. attend a midsemester review to ensure their success the first two Students receive a housing packet outlining all facilities and years. To further assist these students, the University also awards an accommodations after they are admitted to the University. All new AAP Grant to them so they will be less burdened by financial students are guaranteed housing if their housing deposits are demands and can focus on their education. received by June 1. On-campus housing for students after their first For more information, contact the Academic Achievement Program. year is determined on a first-come first-served basis. Anita Lam, Director The Residential Life Office assists students in finding off-campus 215-875-2262 accommodations through its off-campus housing service. Early 1500 Pine Street, Room 102 inquiries regarding this information are strongly recommended. [email protected] Glenn Smith, Director 215-875-2256 1500 Pine Street, Room 100 Learning Skills Specialist [email protected] The University is committed to assuring equal educational oppor- tunity for students with learning disabilities. The goal of the Learning Skills Center is to assist students to maximize their poten- Meals tial while maintaining their independence. Eligibility for services is Almost all student residences feature separate kitchens within determined individually based on documented need. Services each apartment. Students prepare their own meals according to their include direct instruction, monitoring, and consultation. The individual schedules and dietary preferences. In addition, the Learning Skills Specialists acts as a liaison between students and University maintains a cafe that serves breakfast and lunch, and has faculty. Academic accomodations and adjustments are provided an optional meal plan. Snack and beverage vending machines are when appropriate. This is a confidential service. accessible at all times. For additional information, please contact: Neila Douglas, Learning Skills Specialist Academic Support Services [email protected] The Academic Support Services are available to all students as a 215-717-6616 supplement to their classroom instruction. Tutors help students Gershman Hall develop skills in reading, writing, and other academic and studio 401 South Braod Street, Room 309C areas, including successful classroom strategies and improvement of study habits. For assistance with any other type of disability, students should contact the Dean of Students at 215-717-6618.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 225 International Student Services General Information In an effort to meet the special needs of the international student, the University has developed a network of University personnel and offices to provide specialized services to students from abroad. Campus Security These services are provided through the Office of Admission, the The University posts security personnel in all of its buildings to International Student Advisor, the Director of Residential Life, and provide 24-hour protection. Every semester, identification cards are the Dean of Students. issued and validated by the Public Safety Office for all students, fac- The University has designated one member of the professional ulty, and employees. Public Safety officers may deny access to staff as the International Student Advisor. In addition to serving as University facilities for anyone not carrying a validated identifica- liaison for students from abroad, the International Student Advisor tion card. Spot-checking of identification cards occurs throughout will assist the student in securing necessary services provided the day. Complete identification checking occurs each weekday through the support areas of the University. Special programs from 7:15 p.m. until 8 a.m.; after 12 noon on Saturday until 8 a.m. designed to help international students include the following: ESL on Monday; and when classes are not in session. The general tutorial assistance for undergraduates, Immigration Service advise- campus area is patrolled on a regular basis. ment, and Orientation. Campus Security also provides programs to develop student Students interested in participating in the Residential Life pro- awareness of safety and security concerns in an effort to diminish gram should contact the Office of Residential Life directly, as do all exposure to loss. The campus Security Department administers the other entering students. While there is no distinct residential pro- University Safety Program to ensure the safety of all students, fac- gram for students from abroad, special efforts are made by the ulty, and staff. Office of Residential Life to consider the needs of the international In the event of a family emergency about which it is necessary to student. contact students at the University, parents or guardians should call Likewise, the University Health Service, while meeting the needs 215-717-6401 at any time of the day. Security personnel will take of all enrolled students, also considers the support needs of interna- the necessary information, contact the appropriate offices to locate tional students. All international students should take special note of the student, and deliver the message. the University’s requirement that they maintain or secure appro- priate medical insurance coverage, either through their family or Escort Service through the medical insurance plan offered through the University. Public Safety All F-1 students are responsible for obtaining immigration 215-717-5400 information and following all the regulations in order to maintain status. Page 2 of the I-20 explains many of the obligations of an The Escort Service provides safe transportation for any member F-1 student. of the University community to any address that falls between 3rd When in need of assistance, students are advised to contact either and 23rd streets, bordered by Race and Federal streets. The Escort the International Student Advisor, Anita Lam, at 1500 Pine Street, Service operates daily from 7 p.m. to 3 a.m., and picks up passen- Room 102, 215-875-2262, [email protected], or the Office of the gers every half hour from Anderson Hall, the Terra Building, and the Dean of Student Services at 215-717-6675. 1228 Spruce Residence Hall. The service is in effect from the second week in September through the third week in May, with the Career Services exception of scheduled University holidays and closings. As students advance academically and artistically, it is important for them to begin to develop a plan for their career in the arts. The School Closings Career Services Office assists students by providing comprehensive In the event of inclement weather, members of the University services and individual counseling tailored to their specific needs. community should listen to KYW 1060 AM radio for announce- Services for students include the following: career counseling; ments of school closings. The University code number is 116. assistance with résumé writing; interview techniques and job search Additionally, members of the University community can check skills; career resource library and industry publications/periodicals; NBC-10 TV or KYW-TV3 where the school name will be listed at Career Connections monthly newsletter; internship listings; job list- the bottom of the screen. Closing information is also available on- ings including freelance projects, part-time jobs, summer jobs, line at www.NBC10.com or www.kyw1060.com. audition opportunities, and full-time career opportunities; informa- Please refer to the Academic Calendar in the front of this catalog tion on fellowships, grants, and contests; annual Futures Fair (Career for scheduled school closings and holidays. Regularly observed hol- Day); Web site including online résumés, job listings and career idays include New Years Day, Martin Luther King Jr. Day, Memorial links; graduate school information; and study-abroad information. Day, the 4th of July, Labor Day, Thanksgiving and Christmas. The professionally trained staff of the Career Services Office pro- vides assistance to both students and alumni of The University of the Arts. For additional information, please contact: Automobiles Elisa Kurland, Director Students living in the University’s residence halls are not per- 215-717-6075 mitted to maintain vehicles (except bicycles) on campus. Any 3rd Floor, Gershman Building resident student found to be maintaining a vehicle (except a bicycle) [email protected] on campus will be subject to disciplinary action by the Dean of Students. Such action may include dismissal from the residence halls. Students with disabilities may request an exemption from this rule from the Dean of Students.

226 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Veterans Code of Conduct As an accredited degree-granting institution, the University is approved for the training of veterans. Information about education benefits may be obtained from any VA office. The University’s regulations governing nonacademic student con- duct safeguard the particular values and common welfare of the Student Assistance General student body and promote the best possible environment for study. Membership in the University is regarded as a privilege, and the stu- Provisions dent is expected to exercise self-discipline and good judgement. By In accordance with the Higher Education Amendments of 1998, registration, the student acknowledges the University’s authority to The University of the Arts has available, upon request, information define and enforce standards of acceptable conduct. Adjudication of regarding academic programs, financial assistance, and institutional alleged student misconduct is the responsibility of the Office of the policies and statistics. This information may be found in the Dean of Students. A committee on campus standards, representing University’s catalog. the student body, faculty, and administration, serves in an advisory The Student Assistance General Provisions report includes infor- capacity to the Dean. The Campus Standards Committee may rec- mation on the following: ommend suspension, dismissal, or expulsion for student conduct ¥ Accreditation, considered unacceptable at the University. ¥ Current degree programs including related facilities and faculty, A complete set of rules and procedures is contained in the current ¥ Tuition, fees, and other estimated expenses, code for student rights, responsibilities, and conduct. This Student ¥ Withdrawal and refund policies, Code of Conduct may be found in both this Catalog and the Student ¥ Description of financial aid programs, including eligibility, Handbook. award criteria, and application procedures, as well as students’ University policy provides that a student may be required to with- rights and responsibilities upon receiving financial assistance draw from the University for psychological/health reasons. A (such as continued eligibility, exit counseling, and options for student who is withdrawn under this policy is one whose behavior payment deferral), necessitates a leave from the University community. ¥ Requirements for the return of Title IV grant or loan assistance, ¥ Services available for students with disabilities, Academic Dishonesty ¥ Graduation rate. The University of the Arts does not condone any form of academic dishonesty, including cheating on exams, plagiarism, or similar types In addition, each October, the Public Safety Department publishes of behavior. Lack of knowledge of citation procedures, for example, is an annual report on the University’s security policies and crime sta- an unacceptable explanation for plagiarism, as is having studied tistics, which is available to all current and prospective students and together for remarkably similar papers submitted by two students. employees. Penalties for any form of academic dishonesty may include a repri- To request a copy of the Student Assistance General Provisions mand, a failing grade or non-credit for a particular assignment, a report, please contact the Office of the Provost, The University of failing grade in the course, disciplinary probation, suspension, dis- the Arts, 320 South Broad Street, Philadelphia, Pennsylvania 19102. missal, and/or expulsion. If a faculty member suspects a student of any form of plagiarism or academic dishonesty, the faculty member may address the issue directly with the student. The faculty member shall determine an appropriate course of action after meeting with the student and may impose penalties, which include repeating the project, resubmitting the paper, failing the project or paper, or failing the course. The department chair or director must be notified in writing when the student receives a failing grade in the course as a result of academic dishonesty on the student’s part. Both the faculty member and the student have the right to forward the case, in the form of a written complaint, to the chair or director of the department. (If the instructor is also the chair or director of the department, the case goes directly to the Office of the Dean, and to the Provost in the case of the Director of Liberal Arts.) If the fac- ulty member considers the act of dishonesty serious enough to warrant a more serious penalty, he/she must forward the case to the next level, i.e., the department chair or director, or the Dean of the College or the Provost. If the student or faculty member chooses to appeal the decision made by the chair or director, the student or instructor may forward the case to the Dean of the College. A request for such an appeal must be submitted in writing. The Dean has the right to assemble a committee to address the case, or when suspension or expulsion may result, to forward the case to the Dean of Students. If the student seeks a further appeal, the case may be brought to

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 227 the Provost, who has the right to assemble a committee to review the Smoking Policy case. Please note that the Provost’s decision is the final and binding The University of the Arts maintains a smoke-free environment. decision in such cases and no further appeal will be entertained. Smoking is permitted only out of doors. Sexual Harassment and Other Solicitation Prohibited Harassment In an effort to assure a productive and harmonious work environ- The University of the Arts is committed to maintaining an envi- ment, persons not employed by The University of the Arts may not ronment in which students, faculty, and staff may pursue academic, make solicitations or distribute literature at the University at any artistic, and professional excellence. This environment can be time for any purpose. secured only through mutual respect and unconstrained academic The University recognizes that students and alumni may have and professional interchange among faculty, staff, and students. interests in events and organizations outside the University. Faculty, staff, and students of the University are entitled to partici- However, students and alumni may not make solicitations or dis- pate in and obtain the benefits of the University programs, activities, tribute literature concerning these activities on the University and employment without being discriminated against on the basis of campus or by electronic mail. their sex, race, religion, creed, age, ethnicity, national origin, preg- nancy, disability, sexual orientation, or military status. Workplace Violence The University regards any act of sexual harassment or harass- ment because of race, religion, creed, age, ethnicity, national origin, The University is committed to maintaining a safe working, pregnancy, disability, sexual orientation, or military status to be a learning, and living environment for all members of the University violation of the standards of conduct required of all persons associ- community. ated with the institution. The prohibition against sexual harassment Threats, acts of aggression, and violence are unacceptable in the and other forms of harassment applies to all interactions occurring University community. Any such threat or violent act, regardless of on campus, in University facilities, or within the context of intent, will be considered serious misconduct and may be the basis University-related activities. for disciplinary action, up to and including dismissal. The rights defined by this policy apply to all University faculty, In addition, the University prohibits the possession of firearms, students, and employees and the obligations are binding on all fac- explosives, and other dangerous weapons on campus and at ulty and staff as part of their employment regardless of tenure or University functions off-campus. years of service, and all students, regardless of academic status. Harassment constitutes a serious offense and the University will take all necessary disciplinary actions to eradicate it from the University. Those who commit harassment prohibited by this policy are subject to the full range of discipline, up to and including imme- diate dismissal from the University faculty or employment, or expulsion from the University, as appropriate. The prohibitions set forth in this policy include acts of retaliation against members of the University community who have filed com- plaints under this policy. Substance Abuse Policy The members of The University of the Arts community and their health and safety are of paramount concern. The University will not tolerate drug and alcohol abuse, as it imperils the health and well- being of its faculty, staff, and students, and threatens the operation of its educational programs. The use, possession, or distribution of illegal drugs and abuse of other controlled substances, in or out of class, or on University premises is inconsistent with law-abiding behavior expected of all students, and may result in discipline, up to and including expulsion. The University prohibits the illegal and/or unauthorized manufac- ture, sale, or delivery, holding, offering for sale, possession, or use of any controlled substance as defined under the Pennsylvania Controlled Substance, Drug, Device and Cosmetic Act, 35 P.S. Section 780-102, the Uniform Controlled Substances Act, the 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 include but not be limited to alcoholic beverages, narcotics, hyp- notics, sedatives, tranquilizers, stimulants, hallucinogens, and other similar known or habit-forming drugs and/or chemicals as defined under the aforesaid laws.

228 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 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. Part One — Student Rights, Support for any cause by orderly means, which do not disrupt the operation of the University, is permitted. The University retains the Responsibilities, and Conduct 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 following B. Students, student groups, and student organizations may invite 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, collec- tively, 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 the policy, through the Student Council. University is as a student, presently registered at the University, either full-time or part-time, pursuing undergraduate or graduate IV. Student Organizations studies, or continuing education courses. A. Student organizations may be established within the University for any legal purpose, upon recognition by the Office of Student C. “Instructor” means any person hired by the University to con- Activities. To apply for recognition, the proposed organization must duct classroom or studio activities. submit a list of its officers and a copy of its constitution and bylaws. Where a proposed student organization is affiliated with an extra- D. “Student organization” means a group of students who have mural organization, that organization’s constitution and bylaws must complied with the requirements of the University for formal recog- also be submitted to the Office of Student Activities. nition as set forth in Section IV of this Code. B. Any group that has been in existence for at least one academic E. “Group” means a number of students who have not complied year must apply for recognition as a student organization in order to with the requirements for formal recognition as a student organiza- continue to receive benefits from the University. tion. C. Recognition of a student organization by the University does F. “Student media” means either an organization whose primary not imply approval by the University of the aims or objectives of the purpose is to publish/prepare and distribute any publication/presen- organization. tation on the University campus or a regular publication of any student organization. D. After recognition, all amendments to a student organization’s constitution or bylaws must be submitted to the Office of Student G. “Custodian” means the administrative officer of the University Activities four weeks prior to the effective date. with applicable supervisory authority. E. Any organization that engages in illegal activities on or off H. “Shall” is used in the imperative sense. campus shall have sanctions imposed upon it, including withdrawal of University recognition. I. “May” is used in the permissive sense. F. Membership in all campus organizations shall be open, within J. All other terms have their natural meaning unless the context the limits of their facilities, to any member of the University com- dictates otherwise. munity who is willing to subscribe to the stated aims and objectives of the organization and to meet its stated obligations. II. Student Rights A. This Code recognizes that the students of the University, as G. Discrimination by any student organization on the basis of members of an academic community, are entitled to the rights set gender, religion, race, creed, national origin, disability, or sexual forth herein, including, to the extent provided by applicable law, the preference is prohibited. right to be free from discrimination and harassment based on gender, religion, race, national origin, creed, disability, or sexual preference. V. University Facilities University facilities may be assigned to organizations, groups, B. The University reserves the right to change the provisions of and individuals within the University community for regular busi- this Code as it deems necessary. In addition, except to the extent ness meetings, for social programs, and for programs open to the expressly provided herein, the Code is not intended to deal with aca- public. demic issues, financial obligations, or residence assignments: the University retains its traditional powers in these and all other areas A. The Office of Facilities Management shall have the responsi- of campus life. bility for assigning University space to campus organizations, groups, and individuals.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 229 B. Any individual, group, or organization requesting space must A. The right to review educational records that are maintained by inform the University of the general purpose of the function so that the University. These records generally include all records of a per- the University may schedule an appropriate location. sonally identifiable nature; however, they exclude the financial records of parents and confidential letters and statements of recom- C. Allocation of space shall be based on the demonstrated needs mendation received prior to June 1, 1975. of the organization, group, or individual, as determined by the Office of Facilities Management. B. Records that have been created or maintained by a physician, psychiatrist, psychologist, or other recognized professional or para- D. Preference may be given to programs designed for audiences professional while an individual has been a student at the University consisting primarily of members of the University community. are not available for review; however, the student does have the right to select a physician or other appropriate professional, at personal E. Conditions may be imposed to regulate the timeliness of the 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 ensure proper maintenance. C. University educational records are maintained by the following: 1. Office of the Registrar F. Charges may be imposed for any special services required in 2. Office of the Dean of Students connection with the event. 3. Financial Aid Office 4. Finance Office G. Physical abuse of assigned facilities will require restitution for 5. Office of Continuing Studies all damages and may result in limitation on future allocations of 6. Some educational records may also be maintained by the Dean space to offending parties. of the College, academic major departments, and the Academic Support Services Office. VI. Student Rights and Residence Halls A. Resident students can have a representative voice in making D. The University may not generally release any information out- recommendations with respect to the policies of the University’s res- side the University that is maintained in educational records without idence program. prior consent or waiver. However, the University does have the right to release the following information: B. The University shall, to the extent set forth herein, respect each 1. Name resident student’s right to privacy. The University may conduct room 2. Address searches of resident students in good standing only 1) with the con- 3. Email address sent of the student; 2) in conjunction with legal authorities who have 4. Telephone listing obtained a search warrant; or 3) to ensure compliance with 5. Date and place of birth University regulations, as reflected in the Residence Contract. 6. Major field of study University personnel’s entrance to rooms, unless for an emergency, 7. Participation in officially recognized activities apparent breach of University regulations, or conditions beyond the 8. Dates of attendance control of the University, shall be announced 24 hours in advance. If 9. Degrees and awards received the University determines that a danger to the safety of the 10. The most recent previous educational institution attended by University, the residents, or the community exists, consent to enter the student. and search a room will be considered implicit. If a student does not wish any of this information made public, either in a directory of students or in any other manner, the student C. When a resident student requests maintenance service for must inform the Office of the Registrar no later than the end of his/her room, consent to enter shall be considered implicit. Such the third week of classes each semester of the information not service calls will be arranged 24 hours in advance whenever possible. to be released. VII. Access to Student Records– Family E. The permanent record maintained by the University will con- Educational Rights and Privacy Act (FERPA) sist 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 of 3. Applicant’s secondary school records students. Specifically, the statute governs 1) access to records main- 4. Cumulative University of the Arts records of grades, credits, tained by certain educational institutions and agencies, and 2) the grade-point average, and academic actions release of such records. In brief, the statute provides that such insti- 5. Correspondence (or copies thereof) re: admission, enrollment, tutions must provide students access to official records directly 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 the 7. Disciplinary actions student before releasing personally identifiable data from records to 8. Departmental appraisals and evaluations of student progress 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 2. Counseling psychologists’ files by the University: 3. Health Office files

230 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 4. Faculty and staff memoranda/files retained for students who have long been deceased will be evaluated by the personal/professional use University based on legitimate educational interest.

G. Requests to inspect and review records may be made by com- VIII. Violation of University Standards pleting an “Access Request for Educational Records,” which is The University reserves the right to impose discipline for any mis- available in the Office of the Registrar. Upon receipt of a request an conduct that adversely affects the pursuit of the University’s stated appointment will be made to review records within 45 days. purposes and objectives by the University community. In addition, the specific types of misconduct listed below may subject a student H. If a student believes any information in the file is inaccurate or to disciplinary action by the University: misleading, that individual may request, in writing, the custodian of the record to amend, delete, or otherwise modify the objectionable A. Cheating or plagiarism in connection with an academic pro- material. If said request is denied, the student may request that a gram at the University; hearing be held to further pursue the request. At this hearing, the stu- dent may be represented by a person of his or her choice, if so B. Furnishing false information to the University with the intent desired. If after the hearing the request to amend is again denied by to deceive; the University, the student has the right to place in the file a state- ment or other explanatory document, provided that such statements C. Unauthorized use or misuse, including mutilation and/or or documents relate solely to the disputed information. defacing, of educational materials, University records, or University property; I. If a student believes that any of his or her rights hereunder have been violated by the University, he or she should make such facts D. Forgery, alteration, unauthorized use or misuse of any official known to the Dean of Students in writing. If the Dean of Students University document, name, symbol, record, or student or faculty does not resolve the matter and the student still feels that his or her identification card; rights have been violated, he or she may so inform the Department of Education in writing. E. Theft, misappropriation, vandalism, grossly negligent damage, or arson to any University property or private property of any J. Release of information from permanent records to outside par- member of the University community or any other person on ties requires the student’s explicit consent. Those exceptions, which University property; do not require the student’s consent, are: 1. Compilation of general enrollment data for reports required by F. Threat of, or actual infliction of, bodily harm or physical abuse U.S. Government and Commonwealth of Pennsylvania authori- or injury to any member of the University community or any other ties person on University property; 2. Participatory information-sharing with educational service associations such as the College Scholarship Service and the G. Physical obstruction or verbal disruption of teaching, research, American Council on Education disciplinary proceedings, or authorized University programs, events, 3. Information about an individual student in the event of a per- functions, or activities; sonal emergency that is judged to threaten the health and/or safety of that student H. Obstructing access to any University building or other facility; 4. Compliance with judicial orders and lawfully issued subpoenas unauthorized use or occupation of any University meeting facility, 5. Response to inquiries by parents of dependent students (see classroom, common indoor or outdoor area, faculty office, or any section K) other component of the University physical plant or property; 6. Reference by appropriate University of the Arts faculty and professional staff I. Use, possession, distribution, transfer, or sale of illegal nar- Any release of information as outlined above that identifies an cotics, hallucinogenic agents, or drugs anywhere on University individual student and requires that student’s consent will be logged property; in his or her permanent record. J. Construction of or actual possession of firearms or other inher- K. As provided by the Act, the Office of the Registrar will ently dangerous weapons or explosive materials, including respond to valid requests by parents of dependent students for fireworks; grades and related cumulative information. Although the student’s consent is not required, he or she will be informed that such a K. Violation of any criminal statutes of the United States or the request has been made. Commonwealth of Pennsylvania, or ordinances of the City of A dependent student is defined as one who is declared a Philadelphia, which occurs on University property or which directly dependent by his or her parents for income-tax purposes. The affects the University community; University, however, will continue to mail semester grade reports and actual transcripts of records directly to the student at his/her per- L. Resisting campus security guards acting in the proper perform- manent address. ance of their duties on University property;

L. Requests for the records of a deceased student must be accom- M. Failing to repay, by agreed deadlines, monies borrowed from panied by a notarized statement from the executor of the estate of official student loan funds; the deceased approving the release of records. Requests concerning

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 231 N. Failure by a resident student to abide by the University conduct. Upon termination of the period of suspension, the student Residence Hall Contract and any other rules and regulations of the shall be considered for readmission in compliance with academic University applicable to resident students; standards then in effect, provided that the student is academically eligible for re-admission. Suspension is recorded in a disciplinary O. Failing, after a warning, to wear clothing or foot covering file in the Office of the Dean of Students. while attending classes or utilizing any University facility; F. Dismissal: Dismissal is the termination of student status and P. Smoking on campus property, except in designated areas; separation from the University. Dismissal means the loss of all rights and privileges normally accompanying student status. Dismissal is Q. Consuming food or beverages in areas designated “No Food or imposed in instances of more serious misconduct. Upon imposition Beverages;” of this action, the student shall be issued terms for re-admission, including, but not limited to, the first date by which the student is R. Unauthorized consumption, possession, distribution, transfer, eligible to reapply for admission and conditions related to the cause or sale of alcoholic beverages anywhere on University property; of dismissal; the student must also be in compliance with academic standards in effect at the time of re-application. If denied re-admis- S. Failing to comply with the directions or instructions of sion, the student may re-apply after one year, although terms issued University officials relating to the provisions of this Code or other at the time of dismissal remain in effect. The imposition of this regulations that the University may adopt; and action is recorded as dismissal from the University on the transcript. Dismissal is recorded in a disciplinary file in the Office of the Dean T. Soliciting or assisting another student to do any act that could of Students. A grade of “W” for administrative withdrawal shall be subject him/her to discipline for violation of University standards or received for each course for which the student is enrolled at the time regulations. the dismissal is issued.

IX. Disciplinary Actions G. Expulsion: Expulsion is a permanent termination of student The University may impose discipline on a student for a violation status and permanent separation from the University. Expulsion is of any University standard according to the procedures set forth in imposed in instances of the most serious misconduct or in instances Part Two of this Code. The penalties for a violation are set forth of continued serious misconduct usually, though not necessarily, fol- below. One or more of the listed penalties may be imposed at the lowing the imposition of probation or suspension. This action is discretion of the University. The maximum penalty is expulsion recorded as expulsion from the University on the transcript. from the University. Expulsion is recorded in a disciplinary file in the Office of the Dean of Students. A grade of “W” for administrative withdrawal shall be A. Warning: A notice to the student orally or in writing that con- received for each course for which the student is enrolled at the time tinuation or repetition of conduct found to be a violation may be expulsion is issued. cause for additional disciplinary action. A copy of a written warning is retained by the Office of the Dean of Students until the student Part Two—The Hearing Process leaves the University; it does not become a part of the student’s file. I. Initiation of Disciplinary Proceedings B. Fine: A money penalty, intended as a deterrent, to cover the A. Charges of a violation of the Code may be filed against a stu- costs of replacing physical property of the University damaged or dent, student group, or student organization by any member of the stolen by the student. The payment of any fine by a student shall in University community. When a complaint is filed against a student no way limit the right of the University to seek complete restitution organization, the appropriate officers shall act as representatives in through civil proceedings. the disciplinary proceedings. C. Other: The assignment of appropriate tasks for the purpose of B. The charges shall be filed in writing with the Office of the restitution and/or exclusion from participation in privileged or Dean of Students. Upon such filing, the Office of the Dean of extracurricular activities for a period not to exceed one year. Students shall notify the student in writing(to be hand delivered) of the charges and of the procedures to be followed. D. Disciplinary Probation: Disciplinary probation is an official written notice to a student that violations of University regulations C. The Office of the Dean of Students shall make a preliminary or policies, or patterns of behavior contrary to University standards investigation of all charges including an interview with the student/s or expectations will not be tolerated. Repeated offenses will result in so charged. In cases where the charges could result in dismissal from more severe action, including possible suspension or expulsion from the Residence Halls or University, a member of the community, the University. Disciplinary Probation lasts for a stated period of appointed by the Provost, will serve as a neutral third party, and will time and a copy of the probation notice is maintained in a discipli- attend the interview with the student. If the Dean determines that nary file in the Office of the Dean of Students until a student leaves there is no substance to the charges, they will be dropped. The the University. person charged and the complainant will be so informed. E. Suspension: Suspension is the termination of student status and D. If the Dean’s preliminary investigation indicates that the separation from the University until a specified date. Suspension charges warrant a warning, fine, disciplinary probation, or other means the loss of all rights and privileges normally accompanying location as described in Part One, Section IX, the Dean of Students student status. Suspension is imposed in instances of serious mis-

232 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 or his/her designee shall meet with the student to discuss the charges C. At the hearing, the student shall have the right: and issue the imposed penalty. The issuance of such penalty shall 1. to be present; terminate the complaint procedure. 2. to be informed of the evidence against him/her; The student shall have the right to appeal the decision of the Dean 3. to present evidence on his/her behalf; of Students or his/her designee to the Campus Standards Committee 4. to have adequate opportunity to respond to the evidence; and c/o the Dean of Student Services Office, or if the Campus Standards 5. to have the assistance of an advisor of his/her choice who is a committee is not in session, to the Provost within 10 calendar days member of the University community. of notice of the imposition of discipline. The appeal shall be in writing and shall be a reasonable expression of the student’s desire D. If, after the administrative hearing, the Dean of Students or to appeal the decision. A hearing will proceed as described in Part his/her designee determines that the student warrants only a Two, Section II, in which instance the Provost will serve as the Dean warning, the warning will be given by the Dean and the matter shall of Students’ designee, and Section III. The decision of the Campus be deemed closed. Standards Committee or Provost is final. No further appeal may be taken. E. If, after the administrative hearing, the Dean of Students or his/her designee determines that the violation warrants censure, pro- E. If the Dean’s preliminary investigation indicates sufficient evi- bation, suspension, the levying of a fine, or expulsion, such dence to warrant penalties that may include suspension, dismissal, discipline shall be applied, and the student shall be informed in or expulsion, the Dean of Students or his/her designee shall prepare writing of such discipline. and serve on the student a written complaint setting forth the nature, time, and place of the hearing. F. If, after the administrative hearing, the Dean of Students or his/her designee determines that the student has not violated a stan- F. Service of the complaint shall be hand-delivered to the student dard or regulation, he/she will inform the student and the or by certified mail, return receipt requested, on the student, with complainant, and the matter shall be deemed closed. date, time, and place of hearing set out. III. The Campus Standards Committee G. The student shall have the right to file countercharges against The Campus Standards Committee is in session as of the first day the party who filed the charges against him/her. of classes through the last day of classes during the fall and spring semesters. H. If more than one charge arises from the same incident, all such charges shall be heard at the same time. A. Power: The power to review complaints or charges against stu- dents, student groups, or student organizations by a member of the I. The student shall be given the opportunity of defending his/her University community is vested primarily in the Campus Standards conduct before the Campus Standards Committee within two aca- Committee. This committee serves as a recommending body to the demic weeks of receipt of the complaint OR of having the charge Dean of Students. resolved in an administrative hearing within one academic week of receipt of the complaint, unless the Dean determines that the com- B. Membership: The Campus Standards Committee shall be com- plaint must be handled by the Campus Standards Committee. If the posed of eight members: Campus Standards Committee is not in session at the time or during 1. four students. the two weeks after a complaint has been filed, an administrative 2. two administrative staff. hearing will be conducted. 3. two faculty members.

II. Administrative Hearings C. Chairperson: The Chairperson shall be chosen by the Dean of A. If a student wishes to acknowledge that he/she has violated a Students. The Chairperson shall serve as an ex-officio member, standard or regulation as charged, thereby waiving his/her right to a voting only in the event of a tie. formal hearing before the Campus Standards Committee, he/she must sign a waiver to that effect. Upon the presentation of this D. Jurisdiction: waiver to the Dean of Students or his/her designee the Dean shall 1. The Campus Standards Committee shall be the principal body determine the appropriate disciplinary action and impose it. to hear charges of student misconduct or noncompliance with the Code. B. If a student wishes to deny that he/she has violated a standard 2. The Campus Standards Committee shall have the authority to or regulation as charged, but waives his/her right to a formal hearing prescribe supplementary rules of procedure consistent with before the Campus Standards Committee, he/she must sign a written requirements contained herein. waiver to that effect. Upon presentation of this waiver to the Dean of 3. The Campus Standards Committee shall have the authority to Students or his/her designee the Dean and a staff member to be des- develop and recommend to the Dean of Students appropriate ignated by the Dean shall hear the evidence by and against policies, statements, and revisions to the Code and to any other the student. official University document that pertains to student welfare. Also, in cases in which the Campus Standards Committee is not in session at the time or during the two weeks after a complaint has E. Hearings: been filed, the Dean or his/her designee shall hear the evidence by 1. An action before the Campus Standards Committee shall com- and against the student. mence by notification from the Office of the Dean of Students to the Chairperson of the Committee.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 233 2. In order to conduct a hearing, there must be a quorum, which Committee’s recommended action to the Dean of Students. consists of 50 percent of the membership of the Committee. 7. Within three academic days of receipt of the Committee’s rec- Majority, as used in this Code, means a majority of a quorum. ommendation, the Dean of Students shall notify the charged 3. If, after proper notice of the complaint and the date, time, and student by letter, delivered in person or by certified mail, 1) place of hearing, the charged student fails to appear, and the whether he/she accepts the Committee’s recommendation and majority of the Campus Standards Committee is satisfied that the discipline recommended, if any, and 2) if the student is the student had adequate notice and no valid excuse for his/her found guilty of the charges, the discipline, if any, that will be nonappearance, the Committee may then hold the hearing imposed by the Dean of Students. The Dean shall also inform without the student. the Committee of his/her decision. 4. The student charged may be assisted or represented during the 8. A written copy of the Committee’s findings and recommenda- proceedings by an advisor of his/her choice from within the tion and the Dean’s decision shall be placed in the student’s file, University community. and shall remain there for the period of the student’s enrollment 5. Prior to each hearing, any member of the Committee who has a plus one year. particular bias, ethical conflict, or personal relationship with or animosity against the charged student or complainant that IV. Appeal he/she believes would prevent him/her from rendering an objec- A. The student shall have the right to appeal the decision and/or tive recommendation shall excuse him/herself from the discipline imposed by the Dean of Students or his/her designee, participating in that hearing. to the Office of the Provost within 10 calendar days of the receipt of 6. The hearing shall be conducted in a manner to do substantial notice of the imposition of discipline. justice and shall not be unduly restricted by legal rules of proce- dure or evidence. The Chairperson shall take notes of the B. The appeal shall be in writing and shall be a reasonable expres- evidence and testimony presented. The charged student, or sion of the student’s desire to appeal the decision. his/her advisor, may take written notes of the evidence and testi- mony presented. C. Upon receipt of such notice of appeal, the Provost shall advise 7. Only Committee members, the charged students, their advisors, the Dean of Students or his/her designee that such an appeal has complainants and witnesses, if any, and the Dean of Students, been filed. The Dean or his/her designee shall then make the record shall be allowed to attend the hearing. of the proceedings available to the Provost. 8. If two or more students are charged within the same complaint, D. In his/her discretion, the Provost may give the student an individual hearings shall be permitted when requested by any of opportunity to present additional information and his/her reasons for them. appeal, and may request additional information from the Dean of 9. The Chairperson shall open the hearing by stating the charges Students or his/her designee. Unless otherwise requested by the and the procedures to be followed. Provost, all information must be submitted in writing only. 10. The Chairperson shall ask the student whether or not he/she has violated each standard or regulation charged. E. Upon consideration of the record and any additional informa- 11. The complainant shall present his/her evidence first, including tion requested, the Provost shall make a final decision and instruct any witnesses he/she may have. the Dean of Students to impose appropriate discipline, if any. 12. The charged student shall then present his/her evidence, including witnesses, if any. F. The decision of the Provost is final. No further appeals 13. Witnesses shall not be sworn. Any witness may be questioned may be taken. by any party to the action and by any member of the Committee. 14. The complainant and the charged student (or his/her advisor, if Note: 1) The University and the student may both retain an desired) may offer summations. attorney at his/her own expense and have that attorney present pro- vided that a) an in-person proceeding is permitted by the Provost F. Committee Deliberations and Recommendations: pursuant to subparagraph D; and b) neither attorney assumes an 1. At the completion of the testimony, the members of the active role in the conference. Committee shall retire to another room or clear the hearing Note: 2) In cases in which the Provost is appointed the Dean of room in order to deliberate. Students’ designee, the President will substitute for the Provost in 2. No evidence other than that received at the hearing and that the appeal process. contained in the student’s file shall be considered by the Committee. V. Administrative Suspension 3. Confidentiality shall be maintained by all participants. Cases A. If a charge has been filed against a student, the status of the shall be discussed only while the Committee is in session. charged student within the University shall not be altered prior to a 4. Recommendations in all cases shall be determined by a simple hearing and action by the Dean unless 1) the continued presence of majority vote. the student on the University campus shall be found by the Dean of 5. Within three academic days after the conclusion of the hearing, Students in his/her judgement to constitute a serious threat to the the Committee shall prepare in writing findings of fact and con- student or the community; or 2) the off-campus conduct of the stu- clusions as to the validity of the charges, and a recommendation dent is deemed by the Dean of Students to be deleterious to the for appropriate action, and transmit that information to the Dean student’s welfare or to that of the University community. of Students. 6. Within that same time, the Committee shall notify the charged B. Where the Dean of Students concludes that either of such situ- student by letter delivered in person or by certified mail of the ations exist, he/she may, in his discretion, place the student on

234 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 probation or suspension pending final disposition of the charges against him/her. University Guidelines C. The administrative suspension and probation recognized in this for Responsible Computing Section are in addition to the University’s right to impose the emer- gency removal from the University’s campus and community of a The University of the Arts provides access to computing and student. The Dean of Students shall have the sole discretion to deter- information resources for students, faculty, staff, and other author- mine whether to substitute the procedures of emergency withdrawal ized users in support of the University’s mission of teaching, for the procedures of this Code for student misconduct. creative exploration, research, and public service. Computing resources include host computer systems, University-sponsored computers and workstations, and peripherals, software, and elec- tronic files. Proper use demonstrates respect for intellectual Academic Computing property, ownership of data, systems security mechanisms, and each individual’s rights to privacy and to freedom from intimidation, Ken Kramar harassment, and unwanted annoyance. [email protected] Under the auspices of the Provost’s Office, all University com- Director of Academic Computing puter systems, including user files, may be monitored and/or 215-717-6020 confiscated at any time should any portion of the system be threat- ened, or its integrity, security, or proper use be in question, or for The Department of Academic Computing is dedicated to the sup- any reason, at the sole discretion of the Provost’s Office. Members port and integration of appropriate digital technology within the of the University community should understand that all computer University’s academic programs. The department maintains 22 sepa- files and communications are subject to review, and should not rate computer labs equipped with industry-standard software located expect such files and communications to be private. throughout the campus, including additional facilities in our new, All users of the University’s information and technology state-of-the-art Terra Building. In addition to word-processing labs resources are expected: and multiple high-end graphics labs using enhanced Power Macintosh 1) to respect the rights of others and not use such resources to G4s, three music labs, and an animation lab, the University hosts a threaten, harass, intimidate or insult others, or to engage in unlawful, New Media Center comprising of four dual-platform digital laborato- defamatory, or obscene activity; ries that enable the integration of animation, graphics, text, music, and 2) to abide by all applicable licenses, copyrights, patents, intellec- sound. The University is proud to be a member of the New Media tual property rights, contracts, security agreements, and other Centers, a group of the nation’s leading academic institutions and restrictions; and technology corporations dedicated to the advancement of technology 3) to use such resources solely for University-related activities in education. and purposes. Open access to the computer labs is available daily to facilitate indi- The University reserves the right to restrict or rescind computing vidual exploration and to ensure adequate time outside of class for privileges, or the use of any other University facilities or resources, independent work. Students are not required to bring personal com- in accordance with this and other applicable University policies puters, but may find it beneficial to have their own depending on their when the user has exhibited inappropriate behavior in the use of major, individual schedule, and needs. such resources. Other discipline and remedial measures may be Students interested in purchasing their own computers are welcome appropriate, as set forth in other applicable University policies. to contact the Academic Computing office for advice on hardware and The same policies and laws that govern faculty and student publi- software selection and information on the educational discounts avail- cations in traditional media are applicable to publications in able. The University does not accept responsibility for the installation, computer media. With few exceptions, Web pages, electronic mail, maintenance, repair, or security of student-owned computers. and electronic files may not contain copyrighted material without the approval of the owner of the copyright. Likewise, theft or misuse of private propertyÐwhether it be tangible or intellectual propertyÐis prohibited. Examples of Inappropriate Behavior This policy covers all types of inappropriate behavior. The fol- lowing types of activities are selected examples of behaviors that are unethical, unlawful, and/or inappropriate. ¥ Attempting to alter system, hardware, software, or account con- figuration. ¥ Accessing or monitoring another individual’s accounts, files, software, electronic mail, or computer resources without the permis- sion of the owner. • Misrepresenting one’s own 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, or altering the University’s official Web site or related pages without prior authorization in writing.

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 235 ¥ Misusing the University’s computing resources so as to reduce Users shall not, under any circumstances, give their passwords for their efficiency or to affect access to the detriment of other users. any email system to an unauthorized person nor shall they obtain ¥ Producing chain letters or broadcasting messages to individuals any other individual’s password by any unauthorized means whatso- or lists of users, or producing any communication that interferes ever. No user shall use the University’s email systems or services for with the work of others. the purpose of transmitting fraudulent, defamatory, harassing, ¥ Breaching or attempting to breach computer security systems, obscene, or threatening messages, or for the promotion of non-uni- with or without malicious intent. versity-authorized goods, services or personnel, or for any other ¥ Engaging in any activity that might be harmful to systems or to communications that are prohibited by law. any stored information such as creating or propagating viruses, worms, Trojan horses, or other rogue programs, disrupting services, Privacy and Email or damaging files. Both the nature of email and the character of The University of ¥ Violating copyright and/or software licenses agreements. the Arts environment make email less private than users may antici- ¥ Using computing resources for commercial or profit-making pate. The privacy of email messages may be compromised by the purposes without the written authorization from the University. fact they must routinely pass through numerous computers and are ¥ Downloading or posting to University computers, or trans- sometimes seen by system administrators in the course of main- porting across University networks, material that is illegal, taining these systems, redirecting lost mail, or by assistants routinely proprietary, in violation of University contractual agreements, or in screening colleagues’ mail. violation of University policy. ¥ Violating local, state or federal laws. Email Monitoring and Disclosure The University considers any violation of these regulations to be a The University of the Arts does not routinely monitor or inspect serious offense. Violations may result in revocation or restriction of email. Nonetheless, email is subject to a number of laws, policies, computer privileges; disciplinary action as outlined in the Code of Student Conduct, the Faculty and Staff Handbooks, and other and practices that apply to the disclosure and protection of The University policies and procedures; or a referral to local, state, University of the Arts’ records. Examples include but are not limited and/or federal authorities. to the Federal Family Educational Rights and Privacy Act; The above policies supplement the University’s Code of Conduct University personnel policies; disclosure pursuant to litigation; and and all existing policies. other provisions of The University Guidelines for Responsible Computing. The University of the Arts may access email accounts to satisfy a University Computers, Telephones, legal obligation or to ensure proper operation of the electronic mail Equipment, and Resources facilities, and it reserves the right to take appropriate investigatory The University of the Arts provides access to computing and and/or disciplinary action. information resources, telephones and other equipment and resources for students, faculty, and staff to support the University’s mission of teaching, creative exploration, research, and public service. Recognizing the value of such resources to our education and artistic mission, the University has made substantial investment in such resources and equipment and expects them to be used for University purposes only, in accordance with University rules, poli- cies, and directives. No University resources or equipment may be used improperly by any faculty, student, or staff member, or for per- sonal gain or profit. University of the Arts Email Policy This policy applies to all members of The University of the Arts community and refers to all electronic mail resources at the University. Any person who uses the University’s electronic mail facilities consents to all of the provisions of this policy and agrees to comply with all of its terms and conditions and with all applicable state and federal laws and regulations. Violations may result in rev- ocation or restriction of computer privileges; disciplinary action as outlined in the Code of Student Conduct, the Faculty and Staff Handbooks, and other University policies and procedures; or may be referred to local, state, and/or federal authorities. General Use The primary purpose of email accounts is to facilitate communi- cation between users. Email must be used in accordance with the responsible use provi- sion contained in this policy.

236 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Continuing Education Programs

The Center for Continuing Studies Linda Kvamme Director [email protected] 215-717-6095 9th floor, Terra Building

The Center for Continuing Studies at The University of the Arts is dedicated to providing adult learners with diverse continuing and professional education opportunities. Credit and noncredit contin- uing education courses in fine arts, crafts, computer graphics, design, creative writing, photography, film, new media, recording engineering, arts education, and arts administration are available year-round, in convenient evening and weekend classes. The Center also offers specialized certificate programs, as well as customized training solutions for corporate and organizational clients. The Center for Continuing Studies is home of the University’s Professional Institute for Educators, founded in 1973 to serve the continuing education and certification compliance needs of profes- sionals in the field of education. A full program of non-matriculated credit courses is offered for teachers interested in continuing their education. Most classes meet during weekends throughout the year. The Professional Institute also conducts unique educational and cul- tural travel/study abroad seminars. Catalog brochures are available for all of the Center’s program offerings. Please refer to these for specific listings and registration procedures. Please note that the degree programs at the University have specific course and curriculum requirements. Courses taken in the Continuing Studies program are rarely accepted by the University’s degree programs to fulfill degree requirements, and may not exceed a total of six (CS) credits. However, persons seeking admission to a degree program can apply to have these credits evalu- ated at the time of admission to determine if they may be accepted for degree transfer credit.

For additional information about the programs of the Center for Continuing Studies, please visit our Web site at www.uarts.edu, or contact: Continuing Education 215-717-6095 Professional Institute for Educators 215-717-6092 Corporate Training Solutions 215-717-6091

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 237 The University of the Arts

Administration

Miguel Angel Corzo President, CEO

Virginia Red Provost, COO

Rona Sebastian Vice President

Neil Kleinman Dean, College of Media and Communication

Richard J. Lawn Dean, College of Performing Arts

Peter Stambler Director, Division of Liberal Arts

Stephen Tarantal Dean, College of Art and Design

Lynn Dougherty Registrar

Barbara Elliott Director of Admission

Aquila W. Galgon Director of Financial Aid

Carol Graney Director of University Libraries

John Klinzing Dean of Students

John Trojan Chief Financial Officer

Laura J. Zarrow Assistant Provost for Academic Affairs

238 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Board of Trustees 2003-2004

Ronald J. Naples, Chairman Life Trustees Miguel Angel Corzo, President Dorrance H. Hamilton Melissa Heller Batzer H. Ober Hess, Esq. George A. Beach ‘58 Sam S. McKeel Sigrid Berwind Irvin J. Borowsky Emeritus Trustees Mary Louise Beitzel ‘51 Ira Brind Nathaniel R. Bowditch Ronald L. Caplan Anne F. Elder Paul Curci Thomas V. Lefevre Karen Daroff Sondra Myers Eleanor L. Davis Deanna S. DeCherney ‘66 Emeritus Faculty Jill R. Felix Edna Andrade Charles B. Grace, Jr. Morris Berd Glenn K. Holck William Daley, Stephen R. Holstad University Distinguished Professor Richard P. Jaffe, Esq. Albert Gold William G. Krebs ‘66 Kenneth Hiebert Al Paul Lefton, Jr. Nathan Knobler Elaine Levitt Robert F. McGovern Jeff Lotman Richard Stetser Seymour G. Mandell Noel Mayo ‘60 President Emeritus Francis J. Mirabello, Esq. Peter Solmssen Adolf A. Paier Lawrence S. Reichlin Jerry J. Siano ‘57 Judith F. Terra James P. Vesey Harriet G. Weiss Albert E. Wolf

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 239 C F Faculty Index Campbell, Mark 36 Fambrough, Charles 87, 98, 109 Carbone, Denise 42 Farnum, Richard 25 A Carlano, John J. 52 Farr, Chris 87, 96, 98, 99, 109 Carson, Tsia 125 Farrell, Russell 48 Adkins, Paul 86, 98 Ceneri, Thomas 25 Fedchock, John 87, 98, 109 Adorno, Paul 58, 66 Chernoff, Eddie 77 Felton, Richard 46 Agudelo, Juan Sebastian 25 Chaloner, Thea 88 Fielder, Mari 88, 115 Akerley, George 52, 86, 98, 99 Childs, Jennifer 88, 115 Finn, Kevin 25 Allemann, Hans 46 Chittum, Donald 86, 98, 99 Fischbeck, Manfred 86, 88, 91, 115 Allen, Carl 86, 98, 109 Chorpash, Rama 50 Fish, Alida 52, 54 Almquist, Jan 46 Church, Sharon 37 Fishman, Janet 25 Andrade, Edna 36 Citron, Harvey 44 Flanagan, Eileen 25 Antinoff, Steven 25 Clarke-Plumb, Susan 77 Floyd, Cheryl 25 Arthur, Susan 52 Clark-Schock, Karen 60 Fogel, Harris 52 B Clearfield, Andrea 86, 98 Foulks, Renee 48 Cleighton, Karen 88, 91, 115 Fox, Lisa 86 Bach, Laurence 46, 52 Clifton, Meg 86, 98 Foxman, Diane 58, 66 Baguskas, Eugene 40 Cohen, Raye 58, 66 Frazure, Laura 44 Baird, Irene 88, 115 Coleman, Connie 52 Fuiano, Louis 125 Baker, John 25 Colton, Kali 115 Fuld, Rachel 37 Balson, Yana 25 Columbus, John 52 Funderwhite, Dorothy 46 Barfoot, Michelle 50 Copeland, Colette 52 Barkat, Jonathan 48 Comberg, David 50, 75 G Barrick, Rick 52 Connolly, John 46 Gallagher, Matt 87, 98, 109 Barry, Susan 25, 125 Conwell, Charles 88, 115 Garton, William 87, 99, 108 Barton, Carol 42 Cooper, Charles 36 Garvin, Chris 121, 125, 128 Bears-Bailey, Kim 86, 91 Cotton, Kali Lela 88 Gelles, Judy 52 Bedno, Ed 77 Cromie, Aaron 88, 115 Genovese, Richard 87, 98, 108, 109 Bedno, Jane 77 Crowley, Maegan 37 Gerber, Nancy 60 Bell, Larissa 91 Csaszar, Tom 73, 77 Germer, Mark 99 Bennahum, Ninotchka 86, 91 Giacabetti, Thomas 87, 98, 109 Beresin, Ann Richman 25 D Giguere, Ralph 48 Berg, Stephen 25 Daley, William 37, 73, 239 Gilbert, Charles 88, 115 Berger, David V. 36 Darway, Christopher 37 Gilbert, Nan 111, 115 Berkheiser, Megan 48 Davenport, Nancy 25 Gist, Linda 48 Bernstein, Jennifer 46 David, Norman 87, 99 Glanden, Don 87, 98, 99, 109 Bertini, Peter 86, 91 David, Wayne 86 Glatzer, Randi 125 Beskrone, Steve 86, 98, 109 Davis, Sandra 42 Glazer, Susan B. 90, 91 Bevenour, Jay 48 Deneen, David 52 Goldblatt, Aaron 77 Biggs, Brian 48 DeWitt, Jack 25 Goltz, Janice 87, 99, 108 Binford, Jennifer 86, 91 Dicciani, Marc 87, 96, 98, 99, 108, 109 Goltz, Robert 87, 99 Blake, John 86, 98, 109 Didier, Mary Ellen 25 Goodman, Eileen 36 Bohn, Donald Chant 25 DiMasi, Geoff 125 Goodsell, Steven 87, 99, 109 Boman, Hans 91 DiMedio, Annette 87, 91, 98, 99, 108 Gorny, A.P. 73 Boston, Lowell 36, 52 Dockery, Samuel 87, 98, 109 Gostin, Arlene 58, 66 Brill, James 88 Dommert, Alice A. 77 Graham, David 52 Brosh, Robert 86, 98, 99, 109 Donahue, Larry 37 Graney, Carol 8 Brown, Bill 36 Dornfeld, Barry 77, 125, 126 Grant-Kennedy, Mary Ellen 88, 115 Brown, Brian 86 Drodvillo, Debra 46 Greco, JoAnn 125 Brown, David 125 Druckrey, Inge 46 Greco, Marie 46 Brown, Gerard 52, 77 Duff, DeAngela 125 Green, James 42, 71 Bruno, Jimmy 86, 98, 99, 109 Dulik, John 87 Greenberg, Theodore 87, 99 Burnette, Allegra 77 Dupree, James 42 Greenland, Theresa 86, 89, 91, 115 Byrd, Robert 48 Durso, Samuel 25 Grothusen, Michael 36 Guido, Anthony 50, 75 E Gury, Al 48 Ebbenga, Eric 88, 115 Ebner, Craig 87, 98, 109 El-Omami, Anne 66, 77, 79 Ellis, Mark 125 Episcopo, Dominic 52

240 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 H K M Haddad, Orlando 87, 98, 99, 109 Kamien, Janet 77 MacConnell, Kevin 87, 98, 109 Hagans, Tim 87, 98, 109 Kanter, Ron 125 Madara, Jay 91 Hall, Rick 87, 98 Kantra, Nancy 86, 89, 91, 115 Magee, Chris 52 Hartl, Dave 87, 98, 99, 125 Karmatz, Anne 25 Makins, James 37 Hartley, Neill 89, 115 Karros, Alec 37 Marino, Tony 87, 98, 109 Haworth, Curt 86, 91 Kaye-Huntington, Susan 60 Martin, Mary 25 Hayes, Clyde Michael 91 Keating, Nicole Marie 125 Martino, Pat 87, 96, 98, 99, 109 Haykin, Asya 91 Kennedy, Michael 87, 98 Masi, William 48 Heller, Nancy 25, 86, 91 Kerber, Ronald 87, 98, 99, 109 Mauté, Christopher 87, 108 Henderson, Linda 89 Kern, Jeffrey 87, 98, 99, 108 Mazzeo, Frank 87, 98, 109 Henriques, Rex 89, 115 Kery, Peter 46 McAllister, Michael 50 Herdman, Gerald 36, 40 Kettner, David 40 McClendon, Forrest 89, 115 Hiebert, Kenneth 46, 239 King, Paul 48 McCormick, Rod 37 Hobbs, Jr., Johnnie 89, 115 Kleinman, Neil 120, 238 McDaniel, Drucie 89, 115 Hoffman, Debra 36 Knebl, John 87, 99, 108 McGovern, Robert 36, Hollerbush, Matthew 52 Knobler, Nathan 42, 239 McKenna-Cress, Polly 77, 78, 80 Horvath, Sharon 40 Kohler, Lucartha 37 McSorley-Kery, Deborah 46 Hotchkiss, Richard 87, 98 Koppe, Connie 89, 115 Meashey, Kelly 87, 98, 109 Housner, Luke 87 Koresh, Ronen 86, 91 Mele, Marianne 84 Howard, Eugene 25 Koval-Bauer, K. Lynne 125 Meneghini, Tammy 89, 115 Howard, Sabin 48 Kruty, Peter 71 Mercuri, Patrick 88, 98, 109 Howey, David 89, 115 Kyle, Hedi 42, 71 Miceli, Tony 88, 98, 99, 109 Hunt, Jamer 25, 50, 75, 77 Milder, Jonas 50, 75 L Milekic, Slavko 25, 58, 66, 75, 125 I Lam, Anita 25 Misgalla, Molly 86, 91 Iannacone, Richard 91 Larimore, Jack 37 Mitchell, Wm. Frank 77 Ireland, Damon 87, 99 Larson, Cris 25 Mitnick, Larry 36, 50 Lawn, Richard J. 84, 238 Moore, Carol 62, 66, 71. 73, 77 J Lee, Mi-Kyoung 37 Motzer, Tim 91 Jackson, Joseph 87 Lefevre, Sharon 25, 125 Muller, Daniel 88, 98 Jacobson, Susan 125 Lengauer, Maria 58, 66 Murnighan, Jack 125 Jaffe, Jeanne 44, 73 Levis, John 91 Myers, Chris 25, 46 Jaffe, Steven 36, 40 Lewandowski, Niles 36 Janish, James 50 Lewis, Earl 48 N Jarvis, Jeff 87, 98, 109 Lisak, Rebecca 89, 115 Nakashima, Mashiko 44 Jay, Stephen 91, 98, 99 Lister, Peter 42 Neff, Brie 86 Jernigan, John 25 Loebell, Larry 125 Neff, Eileen 40, 73 Johnson, Edward 115 Losso, Ernest 89,115 Nero, Joseph 88, 98, 109 Johnson, Elsa 36, 44 Love, David 36 Netsky, Stewart 25 Johnson, Lois M. 42, 71 Lowery, Tom 91 Newer, David 89, 115 Jones, Micah 87, 98, 99 Lueders, Mark 73 Nichols, Gerald 40, 73 Jones, Patrick 87, 99, 108 Lunsford, Donald 86, 91 Nocella, Steve 44 Jovovitch, Scott 90 Lynn, Jenny 52 Nolan, Paul 25 Julian, June 58, 66 Lyons, Robert 52 Norman, Janis 59, 66 Juska, Elise 25 Novelli, Martin 26

O O’Brien, Tim 48 O’Reilly, Michael 52 O’Shia, Troy Martin 89, 115 Oldham, Anna Michelle 115 Orlandi, Janice 115 Osayande, R. Jeanine 86, 91

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 241 P S T Paglia, Camille A. 125 Sachs, Sid 26 Tarantal, Stephen 28, 48, 238 Pap, Andrew 86, 90 Saler, Karen 36 Taylor, Denise 89, 115 Parker, Barry 44 Salicondro, Anthony 88, 98, 99, 108, 109 Terruso, Gene 89, 111, 115 Pasternak, Theodore 88, 99 Sanders, Brian 86, 91 Thomas, Craig 88, 98, 99, 109 Pawl, Pam 37 Saylor, Steven 125 Thomas, David 88, 98, 99 Pavis, Theta 125 Schaechter, Judith 37 Tinker, Amanda 53 Paxson, James 88, 98, 109 Schaefer, Anne 37 Tocchet, Mark 48 Pearce, Jeannie 52 Schaeffer, Pearl 86 Tracy, Neal 89, 115 Pedretti, Michael 89, 115 Schwass-Drew, Laurel 42 Treacy, Tricia 53 Pennacchio, Charles F. 26 Sciolla, Anne 88 Tropea, Elise 86, 91 Pepe, Diane 35, 36 Seelig, Warren 37 Twiss, Joan 89, 115 Petto, Andrew 26 Sergeev, Mikhail 26 Phelan, Mary 42, 71 Serpentelli, John 53 U Phillips, John 44, 53, 125 Shanker, Jennie 44, 73 Ulitsky, Fabian 26 Pindell, Reginald 88, 98, 109 Sharman, Clint 98, 109 Urrutia, Maria 90 Pitts, Trudy 88, 98, 109 Shaw, Martha 26 Posner, Aaron 89, 115 Sherman, Jon 86, 90 V Proud, Barbara 53 Shockley, Ed 89, 115 Van Keuren, Sarah 42 Pryor, Peter 89, 115 Siembora, Patricia 37 Vandarakis, Connie 86, 91 Purves-Smith, Phyllis 48 Simon, Marlon 88, 98, 99, 109 Vassallo, Judith 26 Putterman, Boris 36, 40 Sklaroff, Carole 86, 90 Veasley, Gerald 88, 98, 109 Slater, Kiernan 26 Vida, Vida 53 Q Slenn, Suzanne 86, 90 Viggiano, Mark 125 Quaile, Michael 88, 98, 99, 109 Slutsky, Valentina 91 Viguers, Susan T. 26, 72 Smigiel, Frank 26 Villain, Pierre 26 R Smiley-Grace, Leigh 89, 115 Villafranca, Elio 88, 98, 99, 109 Rabbai, George 88, 98, 109 Smith, Patricia M. 42, 71, 72 Radolan, Winifred 71 Snizek, Suzanne 88 W Snow, Faye 86, 91 Raine, Patricia 89, 98, 115 Walczak, Marek 75 Solot, Evan 88, 98, 99, 109 Ramey, Kathryn 53 Walsh, Diane 125 Sorlien, Sandy 53 Rankin, III, David 48 Ward, Stanley 26 Spencer, Lori 42, 72 Reeder, Rosae 42 Wasko, Dennis 88, 98, 99, 108, 109 Sperr, Portia Hamilton 77 Reeder, Steve 26 Watson, Faith 26 Spier, Lola Brooks 37 Reese, Mathew 88 Webb, D’Arcy 89, 115 Spodobalski, Barbara 120 Rice, Danielle 77 Weinberg, Carla 26 Spolum, David 26 Rice, Robin 26, 73 Weinberg, Wendy 53 Spring, Noah Brodie 26 Robbins, Owen 89, 115 Weiss, Burton 26 St. David, Wayne 90 Robert, Catherine 26 Wellenreiter, Michael 125 Stalek, Adrienne 28 Robinson, LaVaughn 86, 91 White, Susan 72 Stambler, Peter 21, 26, 238 Robinson, Leo 36 Williams, Kristie 46 Stasis, Patricia 88, 98 Rodriguez, Maria 53 Wolper, Jeffery 125 Staven, Karl 53, 56 Rodriguez, Susan 58, 66 Woodin, John 53 Stein, Andrew 26 Rosati, Anthony 42 Wright, JoAnne 59, 66 Rose, Kathy 53 Stein, Robert 48 Rose, Peter 53, 55 Stetser, Richard 36, 239 Y Stewart, Lizbeth 37 Rossman, Michael 35, 36 Yanoviak, Ken 53 Roth, Barent 50, 75 Stewart, Patricia 26 Stimson, Edward 88 Roth, Roger 48 Z Rothenberg, Dan 115 Stoppleworth, Rick 89, 115 Zaccagni, Bill 88 Rudolph, Thomas 88, 99, 108, 109 Sukol, Dena 26 Zelinsky, Chris 46 Rudolph, William 26 Superior, Roy 37 Zimmerman, Walter 37 Ryder, Jeff 125, 130 Suplee, Barbara 58, 59, 66, 68, 69 Sures, Lynne 72 Zinman, Toby 26 Swana, John 88, 98, 99, 109 Zizka, Jiri 89 Swanson, Jane 50 Szabo, Eva 86, 90

242 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Residency Requirements 205 Admission Requirements 204, 205, 206 Index Transfer Applicants 205 Credit by 207 Transfer of Credit 21, 63, 205, 209 Graduate 209 A Tuition Deposits 206, 210, 212 Automobiles 226 Abroad, Study 14 Administrative Suspension 234 Award Letter Deadlines 214 Absence 13, 16, 62, 91, 113 Advanced Placement 207 Award Notification 218 Academic Achievement/ACT 101 Program Advanced Standing 205, 208 Awards 213 207, 225 Advertising Concentration 127 Academic Advising 10, 31 Advising 10, 31 B Academic Calendar 4 Advisors 100, 113 Bachelor’s Degree Holders, Financial Aid Academic Censure 17 AICAD 34 221 Academic Computing 235 Albert M. Greenfield Library 8 Bad Check Penalty 212 Academic Credentials Evaluation Institute Alcoholic Beverages 228 Ballet 90, 93 (ACEI) 208 Alumni Discount 211 See also - School of Dance Academic Dishonesty/Integrity Policy 227 Amendment of Student Records 9 Board of Trustees 239 Academic Grievance Procedure 16 American Association of Museums 80 Books and Supplies, Expenses 222 Academic Policies and Procedures 9 Anderson Hall 29 Book Arts Minor 32 Academic Progress 92, 100, 113, 219 Animation 56 Book Arts/Printmaking 42, 43, 71, 72 Academic Regulations 58 Computer Animation Lab 30 Faculty 42, 71 School of Dance 91 Course Descriptions 186 Course Descriptions 190 School of Music 99 Animation Minor 32 Borowsky Center for Publication Arts 30 See also - Specific College, Department, or Appeals 17, 234 Budgets 222 Program Academic Progress 219 Academic Review 17 PHEAA State Grant 220 C Academic Support Services 225 Application 204, 209, 212 Café 225 Academic Warning 114, 232 Application Deadlines, Graduate Programs Calendar, Academic 4 Acceptance, Notification 206 209 Call Boards, School of Theater Arts 113 Access to Student Records 9, 230 Application Notification 206 Campus Expression 229 Accreditation 6 Applied Theater Arts Program 111, 112, 114, Campus Map 257 ACT 101 Program 207, 225 115, 116 Campus Security 226 Acting Program 111, 116, 117 Course Descriptions 196 Campus Standards Committee 233 Course Descriptions 196 See also - School of Theater Arts Cancellation See also - School of Theater Arts Applied Workshops, School of Music 100 Class/Lessons 16 Activities, Student 224 Art Education Enrollment 206 Additional Information, Financial Aid 223 Concentration in Educational Media 68 Registration 210 Address, Change of 10 Course Descriptions 132 Career Services 226 Administration 238 Faculty 58, 59, 66 Cars - See Automobiles Admission 204 Master of Arts in 66, 209 CEEB Advanced Placement Program (AP) Advanced Placement 207 Masters of Arts in Teaching in Visual Arts 207 Advanced Standing 205 69 Censure, Academic 17 Application Notification 206 Course Descriptions 132 Center for Continuing Studies 237 Audition, Credit by 207 Pre-Certification in 33, 66, 210 Ceramics, Master of Fine Arts in, Summer Conditional Admission 206 Artistic Presentation 205 Program 73 Crafts Studio Post-Baccalaureate Artists, Visiting 35, 40, 42, 44, 48, 55, 71, 73, Ceramics, Painting or Sculpture Certificate 208, 209 96 MFA Faculty 73 Credit by Portfolio/Audition 207 Arts Bank 96, 111 Summer Residency Program 73 Deferred Admission 206 Art Therapy 60 Ceramics/Sculpture Gallery 29 Early Admission 206 Concentration 33, 60 Certificate in Dance 90, 95 Graduate Admission 208 Course Descriptions 134 Certificate in Music 97, 106 Graduate Application Requirements 209 Faculty 60 Certificate of Finances 208 Housing Deposits/Fees 206, 210, 212 Assistantships 220 Certification, Teaching 58, 64 International Baccalaureate 207 Association of Independent Colleges of Art Class Size and Structure 28 International Students 207 and Design (AICAD) Mobility Program Course Descriptions 141, 148, 172 Midyear 35 34 Change in Enrollment Status 220 Portfolio, Credit by 207 Attendance, Absence 13, 16, 62, 91, 113 Change of Address 10 Post-Baccalaureate Programs 208, 209 Audiovisual Resources 8 Change of Grade 16 Readmission 13 Auditing a Course 14 Change of Major/Degree Program/College 12 Audition

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 243 Change of Major Teacher, School of Music Art Therapy 134 Credit-Hour Ratio 21, 28, 84 99 Ceramics, MFA Summer 141 Crew Assignments 113 Change of Name 10 Ceramics, Painting or Sculpture, Summer Critique 28 Change of Schedule 12 MFA in 148 Crit - See Critique Citation of Text 21 Communication 134 Cross-College Elective Options and Class/Lesson Cancellations or Lateness of Crafts 137 Prerequisites 14 Instructor 16 Dance 142 Curriculum - See Specific Department, Class Status 11 Dance Courses for Dance and Non-Dance Program, or School CLEP 207 Majors 145 Closings, School 226 Electronic Media 146 D Clubs, Student 224 Ensembles 145, 184 Dance 90 Code, Student 229 Fine Arts 147 Certificate in 90, 95 Code of Conduct 227 Foundation 149 Course Descriptions 142 Collections Agency 211 Graduate Seminars 153 See also - School of Dance College Level Examination Program (CLEP) Graphic Design 151 Education 207 Illustration 169 Dance Theater 85 College of Art and Design 7, 28, 62, 205 Industrial Design 166 Deadlines College of Media and Communication 7, 112, Jazz Studies 182 Application to Graduate Programs 209 120, 206 Liberal Arts 153 Change of Grade 16 Faculty 125 Master of Arts in Teaching in Music Change of Major 12 College of Performing Arts 7, 84, 206 Education 183 Clearing Incomplete Grades 16 Faculty 86 Master of Industrial Design 168 Course Withdrawal 12 College-Level Course Work 207 Media Arts 186 Deferred Admission 206 College Transcripts 209 Multimedia 173 Financial Aid 214 Communication 7, 126 Museum Studies 176 Financial Aid, Graduate 209 Course Descriptions 134 Music 179 Guaranteed Housing 225 Commencement 18 Painting, Summer MFA in 195 Housing Deposit 206 Common Core 20, 21 Painting/Drawing 193 Leave of Absence 12 Commuters 222 Printmaking/Book Arts 190 PHEAA Filing 214 Composition 97, 103, 105 Printmaking/Book Arts, Master of Arts PLUS Loan Application 217 Course Descriptions 164 192 Priority Admission 206 See also - School of Music Private Lessons 186 Readmission 13 Computer-Aided Design Center 80 Sculpture 195 Reaffirmation of Intent to Enroll 206 Computer Animation Lab 30 Sculpture, Summer MFA in 196 Refund of Tuition Deposit 206 Computers Theater Arts 196 Registration 10 Educational Discounts 222 Video/Animation 186 Stafford Loan Application 217 Labs 235 Writing for Film and Television 201 Tuition Deposit 206 Selection Advice 222 Cooperative Program with Philadelphia Tuition Payments 211 Computing University 34 University Withdrawal 13 Academic 235 Core Studio Projects Course 39 Dean of Students 224 Examples of Inappropriate Behavior 235 Corporate Training Solutions 237 Dean’s List 15 Guidelines for Responsible 235 Course Substitutions 12 Darkroom 29 Concentrations 14, 32, 39, 58, 60 Course Withdrawal 12 Death of Parent or Spouse 219 Conditional Admission 206 Crafts 37, 38, 39 Declaration of Major, School of Dance 90 Conduct, Code of 227 Course Descriptions 137 Declining Financial Aid 215 Confidentiality and Privacy of Financial Aid Faculty 37 Deferred Admission 206 Information 222 Crafts Core Studio Projects Courses 39 Deficiency, Notice of 16 Continuing Education Programs 237 Crafts Studio Certificate Program 64 Degree Candidacy and Completion 18, 63 Continuing Education Students, Financial Aid Crafts Studio Post-Baccalaureate Certificate Degree Program, Change of 12 221 208, 209 Degree Program, Return 28 Controlled Substances 228 Credit Card Acceptance 211 Degree Programs 7 Cooperative Program with Philadelphia Credit, Insufficient Accumulation 219 Degree Requirements 17, 20 University 34 Credit, Transfer of 21, 63, 205, 209 Dependency Override, Financial Aid 219 Costs, Indirect 222 Credit by Portfolio/Audition 207 Deposits Counseling Center 224 Credit Distribution 31 Damage 206, 212 Course, Auditing a 14 Credit Duplication 63 Housing 206, 210, 212 Course Descriptions Credit from Nonaccredited Institutions 207 Tuition 206 Art Education 132 Credit Load/Overloads 11 Designers, Visiting 50

244 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Digital Audio Sound Studios 30 Medical 224 Federal Work Study (FWS) 214, 217, 218 Digital Fine Arts Concentration 7, 33, 40 Employment, Student 217, 218 Federal/State Grants 215 Digital Imaging Lab 29 E-Music Minor 7, 14, 85, 120, 122 Fees Digital Journalism Concentration 127 English Language Proficiency 204, 207, 209 Application 204, 195 Digital Technology/Electronic Media 29, 146 English Language Program 207, 209 General Student 210 Diploma, Conferral of 18 Enrolled Students 214 Graduate Application 209 Diploma Program in Music 97 Enrollment, Verification of 10 Graduate Thesis Continuation 62 Directory Information 10 Enrollment Status 214 Housing 210 Disabilities 225 Ensembles 92, 96, 145, 185 International Graduate Application 209 Disciplinary Actions 17, 232 Entrance Interview 204, 205, 209 Late Payment 211, 212 Disciplinary Proceedings, Initiation of 232 E-Publishing Minor 7, 120, 122 Late Registration 11, 212 Discipline History Courses 20 Equipment 28, 236 Media Arts Equipment 52 Discount, Tuition 211 ESL Tutorial Assistance 226 PLUS/Stafford Loans 217 Dishonesty 227 Essay, Readmission 13, 211, 212 Dismissal 17, 63 Undergraduate Admission 205 Reapplication 206, 212 Divorce/Separation 218 Graduate Admission 209 Transcript Request 9, 212 Documentary Production Concentration 127 Exchange, Graduate Study, Vermont Studio Fee Waiver 204 Documentary Video Minor 7, 120, 122 Center 73 Fellowships 220 Dorrance Hamilton Hall 29 Exchange Students 34 FERPA - See Family Educational Rights and Dorrance Hamilton Hall Galleries 29 Exhibition Program 29 Privacy Act Double Degree Policies, Graduate 63 Master of Fine Arts 29 Field Trips 31, 35, 42, 44 Drop/Add 12 Senior Students 29 Figurative Illustration Minor 32 Drugs, Illegal 228 Student Scholarship 29 Film and Television, Writing for 130 Dual Concentration 39 Exit Interview 216 Course Descriptions 201 Duration of Eligibility, Financial Aid 214 Exit Requirements for the Master of Music in Film/Animation 56, 186 Jazz Studies 100 Film/Digital Video 55 E Exit Requirements for the MAT in Music Course Descriptions 186 Early Admission 206 Education 100 Film/Video Minor 32 Education Expected Family Contribution (EFC) 213, Finances, Certification of 208 Dance Education, Bachelor of Fine Arts 216, 217 Financial Aid 213 90, 95 Expenses 222 and Academic Censure 17 Master of Arts in Teaching in Visual Arts Expulsion 232 Academic Progress Appeals 219 (MAT) 69 Extracurricular Activities 92, 113 Academic Progress Requirements 219 Master of Arts in Art Education 66 Additional Information 223 Concentration in Educational Media F Additional Sources 223 68 F1 Visa 208 Application Procedure 214 Course Descriptions 120 Facilities 28, 35, 42, 71, 75, 80, 96, 111 Bachelor’s Degree Holders 221 Museum Education, Master of Arts 79 Faculty Advisors 100, 113 Change in Enrollment Status 220 Music Education - Undergraduate and Faculty - See Specific College, Department, or Confidentiality and Privacy of Information Graduate Studies 107 Program 222 Music Education, Master of Arts in Index 240 Continuing Education Students 221 Teaching (MAT) 97, 108 FAFSA (Free Application for Federal Student Deadlines for Application 214 Music Education, Course Descriptions, Aid) 205, 209, 213, 214, 215, 216, 217, Declining 215 Master of Arts in Teaching 183 218, 222, 223 Duration of Eligibility 214 Pre-Certification Concentration in Art Family Educational Rights and Privacy Act FAFSA 205, 209, 213, 214, 215, 216, 217, Education 33, 58 (FERPA) 9, 10, 230, 222 218, 222, 223 Educational Media, Concentration in, Master Family Medicine 224 Financial Aid Transcript 220 of Arts in Art Education 68 Federal Grant Programs 215 Graduate 209, 220 Electives 14, 20, 31 Federal Loans 216 International Students 208, 220 Electronic Application, Financial Aid 214 Federal Perkins Loan (Perkins) 212, 213, 214, Minimum Cumulative Average 219 Electronic Media 29 216, 217, 218, 219, 220, 221 Minimum Grade-Point Average 219 Course Descriptions 146 Federal Stafford Student Loan (Stafford) 209, Off-Campus Students 220 Electronic Reference Tools 8 212, 213, 214, 215, 216, 217, 218, 219, Part-Time Students 213, 221 Eligibility, Financial Aid 213 220, 221 PHEAA State Grant Appeals 220 ELS Language Centers 209 Federal Supplemental Educational Probation 219 Email Policy 236 Opportunity Grant (FSEOG) 213, 214, Rights and Responsibilities 223 Emergency 216, 219, 220, 221 Special Circumstances 218 Family 226 Federal Title IV Program Funds 212, 221 Study Abroad 221

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 245 Summer MFA Students 220 Grading System 15 High School Records 204 Transcripts 220 Incomplete (“I”), Grade of 16 History of The University of the Arts 6 Transfer Students, 215, 220 IP 62 Home-Schooled Applicants 204 Financial Holds 213 Pass/Fail 16 Honors, Graduation with 18 Fine, Bad Checks 212 Graduate Hope Scholarship Tax Credit 222 Fine Arts 40 Admission Requirements 208 Housing Course Descriptions 147 Application Requirements 209 Deposits/Fees 206, 210, 212 Digital Concentration 33 Audition 209 Expenses 206 Faculty 40 College of Art and Design Graduate Student Rights 230 Firearms 228 Programs 7, 62 First Aid 208 College of Performing Arts, Graduate I “First Wednesday” 100 Programs 7, 84, 97,100 I-20 Form 208 Fitness Center Membership 224 Credit for Undergraduates 15 Identification Cards 226 Foreign and Summer Study Programs 14, 34 Credit, Transfer of 63, 209 Illustration 48 Foreign Students 207 Degree Candidacy and Completion 18, 63 Course Descriptions 169 Foundation Program 31, 35 Double Degree Policies 63 Faculty 48 Course Descriptions 149 Electives Policy, Summer 63 Imaging Lab 29 Faculty 36 Graduate Degree Candidacy and Immigration Service Advisement 226 Foundation Shop 35 Completion 18, 63 Immunization Requirements 224 Free Electives 20 International Candidates 208 Inclement Weather 226 Freshman Common Core 20, 21 Graduate Students, Expenses 222 Income Reduction 218 Freshman Transfers 205 Graduate Students, Financial Aid 220 Incomplete, Grade of 16 FSEOG - See Federal Supplemental Graduates Enrolled in an Undergraduate Independent Student 219 Educational Opportunity Grant Course 15 Independent Study 13 Full-Time Credit Load 11 Leave of Absence 62 Index 244 Portfolio 209 Faculty Index 240 G Probation and Dismissal Policies 17, 63 Industrial Design 50 G1 11 Seminars 81, 153 Course Descriptions 166 G2 11 Special Requirements for Applicants 209 Faculty 50 Galleries 29 Student Classification and Course Load Master’s Program Faculty 75 Ceramics/Sculpture Gallery 29 62 Industrial Design, Master of 75 Dorrance Hamilton Hall Galleries 29 Summer Electives Policy 63 Course Descriptions 168 Mednick Gallery in Media Arts 29 Thesis Continuation Fee 62 Industrial Designers’ Society of America 6 Printing/Drawing Gallery 29 Thesis Grading 62 Information Architecture Minor 7, 120, 121, Printmaking Gallery 29 Thesis/Project 62 123 Richard C. von Hess Illustration Thesis Requirements 62 Information Session 204 Gallery 29 Transfer of Credit 63, 209 Initiation of Disciplinary Proceedings 232 Rosenwald-Wolf Gallery 29 Tuition and Fees 211 In Progress (IP) Grade 62 Solmssen Court Gallery 29 Graduation, Conferral of Degrees and Institutional Scholarships and Grants 208, Window on Broad 29 Diplomas 18 213, 215 Game Design Minor 7, 120, 122 Graduation Requirements 17, 100 Insufficient Credit Accumulation 219 GED (General Education Development Test) Diplomas 18 Insurance, Medical 224, 226 204 Music 100 International Baccalaureate 207 General Information 203, 226 Graduation with Honors 18 International Student Advisor 225, 226 General Student Fee 210 Grants 213, 214, 215, 216, 218, 219 International Student Services 226 Gershman Y 111 Graphic Design 46 International Students GPA 15 Course Descriptions 151 Advanced Standing 208 Grades Faculty 46 Financial Aid 208, 220 Change of 16 Greenfield Library 8 Medical Coverage 226 Cumulative Average Grievance Procedures 16 Scholarships 208 Minimum for Graduate Students 18 Internships 13, 33, 171 Minimum for Undergraduate Students H Interview 17 Hahnemann University, Art Therapy 60 Entrance 204, 205, 209 Grade-Point Average (GPA) Computing Harassment 228 Exit 216 15 Health Records 224 Graduate Admission 209 Minimum for Transfer 205 Health Services 224 Undergraduate Admission 204, 205 Minimum in Major Courses 31 Hearing Process 232 Grading Policies 15, 62 Hearings, Administrative 233

246 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 ISLP (International Student Loan Program) Major, Change of 12 N 208 Major Areas of Study 28, 84 Name, Change of 10 Major Program Requirements 31 Narrative Video Minor 7, 120, 123 J See also - Specific College, Department, National Association for Museum Exhibition January Admission 35 Program, or School 80 Jazz Studies Map, Campus 250 National Association of Schools of Music 6 Composition 97, 103, 105 MARS (MIDI and Recording Studios) 96 National Association of the Schools of Art and Diploma, 97, 104, 105 Master Promissory Note (MPN) 216 Design 6 Instrumental Performance 97, 101, 104, MATPREP 97, 107 New Media Center 121 106 Matriculated Students 11 New Students 21, 219 Vocal Performance 102, 104, 106 Meals 225 New Students, Financial Aid 214 Jazz Studies, Master of Music in 84, 97, 109 Media Arts 52, 120 NJ Class Loan 216 Faculty 109 Course Descriptions 186 Nonaccredited Institutions, Credit from 207 Jazz - See Instrumental Performance or Faculty 52 Nondiscrimination Policy 2 Composition under School of Music Internships 52 Non-Federal Work Study (NFWS) 217 Jazz/Theater Dance 90, 94 Studios 29 Non-Matriculated Students 11 See also - School of Dance Media-Specific Course Offerings 38 Notice of Deficiency 16 Jefferson Family Medical Associates 224 Medical Insurance 224 Nurse, University 224 Journalism, Digital Journalism Concentration Mednick Gallery in Media Arts 29 127 Merriam Theater 90, 96, 111 O Jury Examinations 100 Middle States Association of Colleges and Off-Campus Study Jury Recital Requirements 100 Schools 6 Expenses 222 Midyear Admission 35 Financial Aid 220 L Minimum Grade Requirements 17, 18, 31 Office of the Registrar 10 Labs Minors/Concentrations 7, 14, 28, 32, 39, 84, Overload, Credit 11 Computer Animation 30 85, 120, 121 Digital Imaging 29 Misconduct 227 P The Nature Lab (Visual Resource Center) Mission Statement, UArts 6 Painting/Drawing Gallery 29, 40 35 Mission Statement, School of Music 96 Painting, Master of Fine Arts in, Summer Typography/Imaging 29 Mobility Program (AICAD) 34 Program 73 Language Proficiency 204, 207, 209 Modern Dance 90, 91, 95 Course Descriptions 193 Late Payment 211, 212 See also - School of Dance Painting/Drawing 40 Late Registration 11, 212 Multimedia 128 Course Descriptions 193 Lateness of Instructor 16 Course Descriptions 173 Paradigm Lecture Series 54, 55 Late Payment Fee 211, 212 Minor 7, 120, 123, 128 Parent Plus Loan for Undergraduate Students Laundry Facilities 225 Multiple Media Concentration 39 (PLUS) 213, 214, 216, 217, 218 Learning Disabilities 225 Museum Communication, Master of Arts 78 Part-Time Students, Expenses 222 Learning Skills Specialist 225 Museum Education, Master of Arts 79 Part-Time Students, Financial Aid 220 Leave of Absence 13, 62 Museum Exhibition Planning and Design, Pass/Fail Option 16 Lesson Cancellation 16 Master of Arts 80 Payment Methods 211 Lessons, Attendance at 99 Museum Studies 77 Payment Plans 211 Lessons, Private 14, 185, 186 Course Descriptions 176 Pell Grant 213, 215, 218 Letter of Recommendation 205 Internships 77 Perkins Loan 213, 216, 218 Graduate Admission 209 Museum Communication, Master of Arts 78 Personal Statement, Liberal Arts 20, 21 Museum Education, Master of Arts 79 Undergraduate Admission 205 Common Core 20, 21 Museum Exhibition Planning and Design, Graduate Admission 209 Course Descriptions 153 Master of Arts 80 Petition for Award of Degree 17, 18 Faculty 25 Music - See School of Music PHEAA Grant 214, 215, 219 Libraries - See University Libraries Music Education 107 PHEAA State Grant Deadlines - All Students Lifetime Learning Credit 222 Preparatory Program for MA in Teaching 215 Loan Programs, Student 216 97, 107 Philadelphia College of Art 2, 6 Low Residency Program 73 Master of Arts in Teaching 108 Diploma Graduates 28 Music Library 8, 96 Philadelphia College of Performing Arts 2, 6 M Musical Theater Program 111, 112, 117 Philadelphia Dance Academy 6 M.C.P. Hahnemann University 60 Course Descriptions 196 Philadelphia Museum of Art, Print Study Major - See Specific College, Department, See also - School of Theater Arts Seminar 42 Program, or School Philadelphia Stage Combat Workshop 112

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 247 Philadelphia University, Cooperative Program 1228 Spruce Street 225 Music 97, 103 34 311 Juniper Street 225 Composition in Jazz Studies, Diploma Photography 33, 52, 54, 186 Resident Assistants 225 Program 97, 105 Paradigm Lecture Series 54 Residency Requirements 205 Course Descriptions 179 Visiting Photographers 54 Residential Life 225 Diploma Program 97, 104, 105 Photography Minor 33 Resident/Off-Campus, Expenses 222 Ensembles 96, 145, 184 Place Holders 11 Responsibilities and Conduct, Student Rights Exit Requirements 100 Plagiarism 21, 227 229, 230, 235 Facilities 96 PLUS Loan 213, 214, 216, 217, 218 Responsibility, Student 10 Faculty 98 Policies and Procedures 9 Retention of Federal Title IV Program Funds Faculty Advisors 100 Portfolio 212 “First Wednesday” 100 Admission Requirements 205 Retention of University Scholarships, 213 Graduate Programs 97, 110 Credit by 207 Return Degree Program 28 Graduation Requirements 100 Graduate 209 Review, Academic 17 Instrumental Performance in Jazz Studies, Post-Baccalaureate Programs Richard C. von Hess Illustration Gallery 29 Bachelor of Music 97, 101 Admission Requirements 209, 210 Rights and Responsibilities, Financial Aid Jazz Studies, Master of Music 109, 110 Crafts Certificate 64, 209 223 Jury Examinations 100 Teacher Program 64 Rosenwald-Wolf Gallery 29 Jury Recital Requirements 100 Practicum 31 Major Areas of Concentration 97 PRAXIS Series, National Teachers Exam 58, S Master of Arts in Teaching - Corequisite 64, 69 SAT 204 Program 97 Pre-Certification Concentration in Art Schedule Revision 12 Master of Arts in Teaching in Music Education 33, 58, 210 Scholarships 208, 213, 215, 216 Education (MAT) 97, 108 PREP (Pre-Freshman Enrichment Program) International Students 208 Master of Music in Jazz Studies 109, 110 206, 207 School Closings 226 MATPREP 97, 107 Prerequisites 10 School of Dance 90, 142 Mission Statement 96 Printmaking/Book Arts 42, 71 Absences 91 Music Education 107 Course Descriptions 190 Academic Progress 92 Performance Opportunities/ Ensembles 96 Faculty 42 Ballet 90, 93 Professional Standards and Behavior 100 Gallery 29 Certificate in Dance 90, 95 Programs of Study 97 Print Study Seminar 42 Course Descriptions 142 Regulations/Requirements 99 Priority Admission 206 Curriculum 93 Undergraduate Programs 97 Professional Institute for Educators 237 Dance Education 95 Vocal Performance in Jazz Studies, Private Lessons 14, 186 Ensemble Electives 92 Bachelor of Music 97, 102 Probation and Dismissal Policies 17, 63, 232 Ensemble Requirements 92 School of Theater Arts 84, 111, 196 Professional Engagement Form 92 Evaluation 92 Absences 113 Programs of Study - See Specific College, Extracurricular Activities 92 Academic Progress 113 Department, Program, or School Facilities 90 Acting Program 111, 113, 116 Public Safety Office 226 Faculty 90 Advisors 113 Jazz/Theater Dance 90, 91, 94 Applied Theater Arts 111, 112, 114, 116 R Leave of Absence 91 Call Boards 113 Readmission 13 Modern Dance 90, 91, 95 Course Descriptions 196 Recommendation - See Letter of Performance Requirements 92 Crew Assignments 113 Recommendation Physical Demands of the Program 91 Curriculum 112 Recording Studios 96 Professional Standards and Behavior 92 Evaluations 114 Records Programs of Study 90 Extracurricular Activities 113 Health 224 Regulations/Requirements 91 Facilities 111 High School 204 Responsibilities 92 Faculty 115 Student 9, 230 Senior Dance Concert 92 Leave of Absence 113 Refund Policy 212 Student Evaluations 92 Musical Theater Program 111, 114, 117 Registering for Other Categories of Study 13 School of Music 84, 96, 179 Physical Demands of the Program 113 Registrar 9 Academic Progress 100 Production Season 112 Registration 10 Applied Workshops 100 Professional Standards and Behavior 113 Registration, Late 11, 212 Attendance 99 Programs of Study 111 Research Papers, Text Citation 21 Attendance at Lessons 99 Stage Combat Program 112 Residence Halls 225 Certificate in Music 97, 106 Warnings 114 Furness Hall 225 Change of Major Teacher 99 Screenwriting Minor 7, 120, 123, 130 1500 Pine Street 225 Composition in Jazz Studies, Bachelor of Sculpture 44

248 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 Course Descriptions 195 Financial Aid 220 Trustees, Board of 239 Faculty 44 Substance Abuse Policy 228 Tuition and Expenses 210, 222 Sculpture, Master of Fine Arts in Summer Graduate Electives Policy 63 Deposit 206, 212 Course Descriptions 148, 172, 196 Summer MFA Students, Financial Aid 220 Discounts 211 Summer Program 68 Summer Pre-Freshman Enrichment Program Payments and Financial Responsibility Secondary School Records 204 (PREP) 206, 207 211 Security 226 Summer Program, Ceramics, Painting, or Refund Policy and Procedures 212 SEOG Grants - See FSEOG Sculpture, Master of Fine Arts in 73 Remission 211 Sexual Harassment and Other Prohibited Course Descriptions 148 Tuition Tax Benefits 222 Harassment 228 Summer Study Programs 14, 34, 73 Tuition Management Systems (TMS) 211 Shop, The 35 Suspension 232, 234 Tuition Payment Plans 211 Sibling Discount 211 Tutoring 225 Single Medium Concentration 39 T Typography Minor 33 Slide Collection 8 Tax Benefits/Credits 222 Typography/Imaging Lab 29 Smoking Policy 228 Teaching Society of American Fight Directors 112 Certification Program 58, 64, 210 U Solicitation 228 Master of Arts in Teaching, Visual Arts U1 11 Solmssen Court Gallery 29 (MAT) 69 U2 11 Sound Studios 30 Master of Arts in Teaching, Music U3 11 Special Charges and Fees 212 Education (MAT) 97, 108 U4 11 Special Circumstances, Financial Aid (Income Course Descriptions 183 U5 11 Reduction, Divorce or Separation, Death) Master of Arts with a Concentration in Undergraduate Curriculum - See Specific 218 Educational Media 68 Department or School Special Events 224 MATPREP 97, 107 Undergraduate Degree Requirements 20 Spousal Discount 212 Pre-Certification in Art Education 33, 58, Undergraduate Programs 31 Stafford Loans 209, 212, 213, 214, 215, 216, 210 Undergraduates Enrolled for Graduate Credit 217, 218, 219, 220, 221 See also - Education 15 Stage Combat Program 112 Technology Competencies 68 Undergraduate Tuition and Expenses 210 Standardized Test Scores 204 Telephones 236 University Computers, Telephones, Standards Committee 227, 233 Terra Building 29, 90, 111 Equipment, and Resources 236 State Grant Information 213 Theater Dance 90, 91, 94 University Facilities, Student Rights 229 Strategic Advertising Minor 7, 120, 124, 126 See also School of Dance University Libraries 8 Student Activities 224 Thesis Continuation Fee 62 Albert M. Greenfield Library 8 Student Aid Report 218 Thesis Grading 62 Music Library 8 Student Assistance General Provisions 227 Thesis/Project 62 Visual Resources/Slide Collection 8 Student Classification Three-Year Transfers 205 Graduate 62 Title IV Code 212, 213, 221 V Undergraduate 11 Title IV Program 196 Vermont Studio Center Student Clubs/Organizations 224 TOEFL 204, 207, 208 Foreign and Summer Study Programs 34, Student Code 229 Training, Corporate 237 73 Student Council 224 Transcript Fee 9, 212 Graduate Study Exchange 73 Student Employment 217, 218 Transcripts 9 Veterans 227 Student Exchange 34 College 205, 209 Video - See Film/Animation; Film/Digital Student Loan Programs 216 High School 204 Video Student Organizations 224, 229 International Students 208 Violation of University Standards 231 Student Records, Access to 9, 230 Secondary School 204 Visa, F1 208 Student Responsibility 10 Translation of 208 Visual Arts Student Rights 229 UArts 213 Master of Arts in Teaching 69 Student Rights and Residence Halls 230 Transfer Visual Resource Center - See Nature Lab Student Services 224 Advanced Standing 205 Student Show 29 Applicants 205 Student Teacher Program, Post-Baccalaureate Application Requirements 205 58, 64 Credit Evaluation 205, 207 Studio Electives 31 Credit Policy and Requirements 21, 63, Studio Photography Minor 33 205, 209 Studios and Facilities 29, 35, 42, 71, 75, 80, Freshman 205 96, 111 Students, Financial Aid 220 Study Abroad and Off-Campus Study, Three-Year Transfers 205

The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 249 Campus Map Juniper Street 13th Street 15th Street Broad Street

Walnut Street

6

Locust Street

5

Spruce Street 12 1 Cypress Street Cypress Street 7 3 4 11 8 Pine Street

2 9

Lombard Street 1UArts Dance Theater 2 1500 Pine Residence 3 Furness Residence 4 Hamilton Hall 5 Merriam Theater 6Terra Building 7 Chambers-Wylie Church South Street 8 Anderson Hall 9 Gershman Hall 10 Philadelphia Arts Bank 10 11 311 Juniper Residence 12 1228 Spruce Residence

250 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004